{
    "version": "1.0.1",
    "metadata": {
        "type": "comicSeries",
        "publisher": "Shueisha",
        "imprint": null,
        "name": "Weekly Shonen Jump",
        "comicid": 43519,
        "year": 1968,
        "description_text": "Proper Japanese Title: 週刊少年ジャンプWeekly Shonen Jump launched in 1968 as Shonen Jump (少年ジャンプ), only becoming weekly and extending its name in 1969, and quickly established itself as one of the dominant magazines in the industry. Though it became the highest-circulating weekly shonen magazine in the early 70's, it became the best-known manga magazine in Japan's history due mostly to its explosive growth from 1983-1995. It was many of these titles from the 80's and on that became not just classic manga but classic anime as well.Peak CirculationJump peaked at a circulation of 6.5 million copies in 1995 before Dragon Ball ended, with Slam Dunk following a year later, and the magazine's circulation dropped by two million with a gradual decrease continuing through the end of the 90's. This fall in circulation was great enough that Jump briefly fell from its position of the number one magazine to number two (after Weekly Shonen Magazine), only regaining its position when Weekly Shonen Magazine suffered its own dramatic collapse a few years later. Perhaps as an indication of the general trend away from mainstream manga magazines, even when Jump regained its top spot in the early 00's with the popularity of new megahits like One Piece and Naruto, it was only able to sustain its readership rather than grow. And with the rise of digital in the mid-10's, the physical circulation has begun to drop steadily again. Whether the magazine is growing or keeping readers through its digital version (launched in 2014) is not fully known. Jump still retains a physical circulation of more than a million copies, something Magazine no longer had as of 2016 (with it currently having half that). Jump's circulation is larger than the combined circulation of the other three currently active weekly shonen magazines (Magazine, Sunday and Champion).Jump was predated by plenty of other already-established shonen manga magazines (including Magazine and Sunday) and from Shueisha itself, it became a replacement for the decade old Shonen Book. But Jump set itself apart with a network of creators that got their start in the magazine and upon leaving either went to the many other Jump spin-off magazines or even the other weekly shonen magazines. Examples of the reverse are quite uncommon outside of Jump's earliest years.Jump MascotWhile many of the best-selling manga of all time come from this magazine, the biggest series' tend to get huge boosts in popularity and growth from their frequent anime adaptations with some titles that weren't doing too well in the magazine (like Kuroko no Basuke or Kimetsu no Yaiba), ending up among the best-selling manga of the decade after the anime boost. Anime popularity tends to result in much more promotion within the magazine itself but on the other hand Jump will do far less promotion of a formerly major series if its anime is over. One of the things that makes the magazine so interesting to fans is that for the most part, the series within are ranked by internal popularity polls each week and placement in the magazine can often directly tie to how well received recent chapters have been. The actual internal poll rankings are rarely revealed so they become a major subject for fan speculation.In a magazine that has run for nearly fifty years, there are bound to be many exceptions but one of the magazine's key characteristics is its high turnover rate with new series. Generally a few series are launched in the magazine every few months and have been since its inception, and at the same time, a few series end to make room. As the long-running series are often established and already performing well, it tends to be the last batch of new titles that is cancelled to make way for the next one with spots in the magazine really only opening up when an established series is finally cut or the author abruptly ends it. It is rare for a series to end while still one of the most popular in the magazine but this has happened a number of times with varying levels of conflict between editorial and the authors.Format of the MagazineChapters Were Two Pages EachIn the first years of the magazine, very few series lasted more than a few issues including works by high-profile authors. Not much lasted even a year and there were quite a few serializations that were only three chapters (this practice has survived somewhat in the modern era with Takuma Yokota, Shun Numa and Shuhei Miyazaki all having three-issue serializations before their major debut series). There were also an assortment of really short gag features that are inconsistently counted as serializations by different sources that may not be seen as such in the modern magazine (as they were only one to four pages an issue). But generally most serializations range from 15-30 pages an issue. As the magazine began to cultivate a number of strong titles in the 70's, the constant cancellation of the old to make way for the new bred a system of high competition for any new series and popular series' were expected to last years. Almost every new serial essentially had to prove itself within three or four months as being more popular than a decent chunk of other titles in the magazine and if it failed, it would be cancelled to make way for another new series.Because of this system, Shonen Jump has published many of the best-selling manga of all time including One Piece, Dragon Ball, Kochikame, Naruto, Slam Dunk, Jojo, Hokuto no Ken, Kimetsu no Yaiba and Bleach which are the majority of shonen manga in history to have sales over one hundred million. Yet the vast majority of titles Jump serialized don't last more than two or three volumes and in the case of titles before the 80's, were often never collected by Shueisha, if at all.Although in the early 70's many series never got a color page at all and certainly didn't for their first chapter, since the 80's virtually every new series is given the same initial promotion with every serial getting collected and most new series getting the cover and the lead color page in the magazine for their first chapter (and then a second color page within their first couple chapters). Beyond this, there are quite a few examples of major creators being given more color pages and covers from the start based off past popularity but how much promotion is based off editorial decisions and how much off reader survey results or volume sales is not clear. Rare examples of manga that did not get the cover for their first chapter (and in some cases did not even get a color page) include some of Jump's most famous from their era: Otoko Ippiki Gaki-Daisho and Harenchi Gakuen (1968), Dokonjo Gaeru and Toilet Hakase (1970), Astro Kyudan (1972), Circuit no Okami and Doberman Deka (1975), Kochikame (1976), Ring ni Kakero (1977), Cobra (1978), Dr. Slump (1980), Captain Tsubasa (1981), Wing-Man (1983), Pyu to Fuku! Jaguar (2000), To Love-Ru (2006) and Boruto (2016).Hirohiko Araki's First SerialJump's constant cancellations of new series can be seen as harsh but creators of failed series are often given new chances with many of the major successes of the magazine starting out as early cancellations. Hirohiko Araki debuted with Mashōnen B.T. which was cancelled after ten chapters, his second series Baoh suffered a similar fate but only a few years later he returned with JoJo no Kimyō na Bōken which lasted for over five hundred chapters. Similar examples include Tetsuo Hara, Kohei Horikoshi, Masami Kurumada, Takehiko Inoue, Takeshi Obata, Yoshihiro Togashi, Haruto Umezawa, Takeshi Konomi, Ryu Fujisaki, Haruichi Furudate, Daisuke Ashihara and Hiroyuki Takei.On the other hand major creators can have their works axed quite quickly if they are not popular with the magazine's audience, though at times they are simply moved to another magazine (Steel Ball Run, Sekiryuo and Beshari Gurashi). Chagecha being cut after eight chapters despite the author having previously done Bobobōbo Bōbobo which lasted for over three hundred is one of the most extreme examples but others include Black Knight Bat (1985), Bakudan (1994), Gakkyu Hotei (2015), Jumbor (2007), Sakura Tetsu Taiwahen (2002), Silent Knight Sho (1992), Shadow Lady (1995), Sword Breaker (2002) and Kirara (1986). Upfront major promotion on some titles because of their author's past success can delay a cancellation even if it's still ultimately cut short like Samurai 8.As a general rule, the series on the cover is given one or more fully-colored pages of the chapter along with a color spread at the beginning of the magazine. A few other series are then given a color cover page each issue (often to promote something, like their newest collection, their boost in popularity, an anniversary or an anime adaptation). However, sometimes the cover is taken by a series that doesn't even get a color page or can even be at the very back of the magazine. Pyu to Fuku! Jaguar debuted at the back of the magazine in 2000 (getting color pages but not the cover) and proceeded to be one of the only serials to remain in the magazine through the entire decade.Historically Common Color Scheme (Obora Ichidai, 1974) vs. Fully-Colored Page (Tenchi wo Kurau, 1983)The actual amount and type of color pages differs by era. In the first issue of Jump and many early issues, only the first series in the issue got color pages but how many color pages varied. Full-color chapters were not uncommon. In some early issues from this era, no series got a color page at all. These early color pages are noticeably different from modern ones as in collections there is no indication the chapters were ever colored (whereas modern color pages are grayscaled when collected) and the paper quality was not as good as modern color pages so the colors could potentially end up more faded. In the early 70's Jump then introduced a type of color page common in other manga magazines which used less colors in the ink. These were grayscaled in collections but in the magazine they were the most commonly used color-type when publishing fully-colored chapters. Some issues of the magazine would have four series fully-colored in this style though the lead color was now usually colored like the higher-quality color pages of the modern magazine.Sometimes a chapter would change coloring halfway, either from the ink with more colors to the one with less or from the ink with less colors to no colors at all. Dr. Slump's final chapter is a notable example of the latter. The 80's saw the introduction of chapters being once again fully-colored (but now with much higher quality paper and colors) and Tenchi wo Kurau's first chapter became one of the only manga to receive this treatment before it had become one of the most popular titles in the magazines. Other manga would receive fully-colored chapters, generally at the height of their popularity, like Slam Dunk but into the 90's the bulk of color pages remained the type with less ink and chapters were less likely to have all pages colored. Up until this era, most chapters with color pages were at the front of the magazine, this reflected a change in ink-quality and paper quality that would normally happen in the middle section of the magazine (works in the middle of the magazine could be much worse ink quality and color than those in the back).In the late 90's color pages made their final major shift to become their modern version. Color pages were now spread out through the magazine rather than all bunched up at the front, most series only got a colored cover page and not the pages of the chapter itself colored and the lower-quality color pages with less ink were mostly phased out. This change happened gradually with Takeshi (1997-33) and One Piece (1997-34) getting half-colored first chapter, Meiryotei's first chapter receiving no extra color pages (1997-52), Grow receiving a couple extra ones (1998-01), Rookies (1998-10) and Hunter × Hunter (1998-14) being half-colored and Shaman King (1998-31) receiving no extra color pages. By the 00's color pages were of the modern style barring rare exceptions like Jaguar and while fully-colored chapters were still published from time to time with really popular series (like Tennis no Oji-sama, Kuroko no Basuke or Bleach), they were much rarer.Most popular series generally drop off in popularity partway through their run and by the time they end, they are no longer significantly promoted in the magazine and historically many classic manga in fact ended quite unceremoniously in the back of the magazine. It was during the shift in how color pages were formatted in the late 90's that the practice of giving a color page to the final chapter of a series in the middle of the magazine really took hold, early examples included Dragon Quest: Dai no Daiboken (1996), Rokudenashi Blues (1997), Jigoku Sensei Nube (1999), Rurouni Kenshin (1999), I\"s (2000) and Hoshin Engi (2000). Final chapters of a series are generally only given a color page if they were quite popular at some point in their run, but one of the rarest honors given to a series is a fully-colored final chapter.Full-Color KochikameThis honor is reserved for the final chapter of some of the magazine's biggest series that often helped the magazine rise in popularity, in several cases, their end has led to the magazine having a steep drop off in readership. To date, only six have gotten the honor: Ring ni Kakero (1977-1981), Dragon Ball (1984-1995), Slam Dunk (1990-1996), Pyu to Fuku! Jaguar (2000-2010), Naruto (1999-2014) and Kochikame (1976-2016). Notably, the issue featuring the end of Kochikame was the first time the magazine ever reprinted an issue and rather than coloring the final chapter itself, it included a full-color reprint of the first chapter of the series instead. For comparison, Naruto and Kochikame were the only examples of these six to fully-color their chapters with the modern coloring and both of them actually included an uncolored chapter earlier in the magazine that had the lead color page and cover spread. Ring ni Kakero, Dragon Ball and Slam Dunk all used the color pages with less inks for most pages but were given the lead color. Jaguar used the latter-style of color pages for all of its chapter and appeared at the back of the magazine. An even rarer honor is receiving the cover for a final chapter but there is nothing in common with the three examples of it and the first two were possibly unintentional: Yamazaki Ginjiro (1980-1981) received the cover but no color page; Slam Dunk (1990-1996) received the cover, lead color and a fully-colored chapter but it was not advertised as a final chapter and the chapter itself only said it was the end of Part 1; and Kochikame (1976-2016) received the cover, a fully-colored chapter and the issue itself dedicated to it with easter eggs to celebrate ending on its 40th anniversary with its 200th tankobon being released.Indexing SerializationsFor the purposes of indexing it is important to note that for many highly popular series (particularly from the beginning of the magazine into the 80's), what were considered chapters then are not necessarily what have been established as chapters now. It is quite common for these older series to bundle multiple chapters together, to edit out chapters or pages or even reorder chapters in a collection (particularly with gag manga where chronology isn't as important).Dokonjo Gaeru (Chapters Reordered); Cobra (Chapters Combined)This is partly due to the fact that at the time, many serializations didn't officially number their chapters and would have episodic chapters amidst an ongoing storyline. So while it is much easier to reference a particular chapter of a long-running modern series where each chapter flows into the next, with a series like Kochikame the title is referenced instead or in the case of other classics like Ring ni Kakero or Cobra, the chapters have not been preserved at all in their original form. For example, the first tankobon of Cobra only listed one chapter over a hundred and fifty pages long but in the magazine, chapters were twenty to thirty pages.In some cases the author has just chosen to streamline the work to make it flow better as an uninterrupted story as opposed to a serialization and in the editing, original chapters can be lost. For this reason, many sites will claim a series has far less chapters than it actually did have. Most sources will claim the original Saint Seiya had only 110 chapters, which would have meant it lasted only a little over two years in the actual magazine, but in reality, nearly two years before the series had even ended it was already celebrating 150 chapters (see: #1038).Other notable series like Dr. Slump and Kinnikuman have been given fan-made chapter numbers that are accepted by most English-language sources as fact despite not being in any way official, not in publication order or multiple chapters bundled together.Though most major series can be approximated and series after the 90's generally avoid these problems, if you are looking for a specific chapter, there are some things to note.Ring ni Kakero (Chapter Covers Removed); City Hunter (Chapter Covers Swapped Around)Reordered or Omitted Chapters: In gag manga, reordering was fairly common with this happening in plenty of early classics like Toilet Hakase, Kochikame or Dr. Slump. Due to the episodic nature of these manga, they are also more likely to simply omit chapters from their collections, usually controversial ones but not always. Kochikame and Moeru!! Onii-san are examples of chapters being omitted to avoid controversy.Combined Chapters: In many story manga, the serialized chapters would end on cliffhangers that didn't necessarily work as cliffhangers when in collected form and it was common for series to bundle together chapters that flow directly into one another. This is why gag manga tended to actually keep most of their chapters with some rearranging while story manga would require more streamlining. Examples of this include Obora Ichidai, the works of Masami Kurumada, Astro Kyudan, Koya no Shonen Isamu, Cobra, Captain Tsubasa, City Hunter (episodic chapters were often kept separate but larger arcs combined).Chapter Covers Removed or Swapped Around: As part of this general streamlining process, one of the biggest things that was often lost from story manga and even many gag were chapter covers. As a general rule, each chapter of every series had its own unique cover. But in most collections of many classic manga, those covers are missing or have been repurposed (like using color pages from the magazine as tankobon covers for the collection). While sometimes covers are removed because two chapters are being combined together, even in a manga that does keep all their chapters labeled there can be a significant removal of chapter covers to avoid interrupting major story arcs (Rokudenashi Blues is a rare 90's example of this). Even when some covers were kept as in popular series like City Hunter or Hokuto no Ken, they could have their placement completely rearranged so a cover corresponds with two completely different chapters between the magazine and the tankobon. Or, what were originally covers become bonus extras in the volumes (series like Saint Seiya or Dai no Daiboken using chapter covers to show character profiles). Masakazu Katsura began a stylistic trend with his manga to remove chapter covers and instead have blank pages with the title on them in the collections and then a curated selection of the magazine chapter covers would appear in the back (such as in Denei Shojo or I\"s). Other authors in the 90's would also include galleries of chapter covers that had been removed from their original placement for streamlining purposes (like Masaya Tokuhiro and Yoichi Takahashi).Rokudenashi Blues (Chapter Numbers Removed from Titles); Jojo no Kimyo na Boken (Ads Removed)Chapter Titles Changed: Though generally any chapter titles that are used in the collections did originally appear in the magazine version (even if they applied to a smaller section), there are popular manga like Jojo no Kimyo na Boken or Bleach that made significant changes to chapter titles from the magazine to the volume. Another similar change that occurred with manga was the removal of chapter numbers. In the magazine, Rokudenashi Blues and Dai no Daiboken chapters were numbered but they were not in the collections. Because it combined numerous chapters in its later years, Tar-chan had a much higher official chapter number for its last chapter when it ended in the magazine than it did in its collections.Censorship/Alterations/Ads: Part of the work authors put into their collections is to fix errors that were caught in the serialized version or to improve things. This is often as simple as altering the text in a chapter slightly or fixing something that was drawn wrong but it can be much more dramatic including censorship of particularly controversial panels. Some chapters when published in the magazine form are very rough sketches for certain pages that are then completed in the collections and some things are deliberately censored in the magazine that are then added in for the tanks. Since the late 90's it is usually the censoring of nipples which previously had been fairly common in Jump. Major series to fall under these categories include Hunter × Hunter, To Love-Ru, Bastard!!, World Trigger, Yuragi-So no Yuna-san and Boku no Hero Academia. Another example of necessary alterations that only affect manga from the 90's and earlier was that ads used to appear directly on a varying amount of manga chapter pages in each magazine issue. These ads could be for various things but the way different authors dealt with them in their collections was not uniform. Some authors simply leave these spaces as massive blank sections of the page, some insert messages from the author and others just insert filler panels that were not originally in the chapter.Crossovers: Because many Jump manga referenced one another over the decades, characters associated with one series may appear in a series other than their own. Examples: Appule in Kochikame, Higegojira in Chichi no Tamashii, Gatchan in Yamazaki Ginjiro, Delorinman in Harenchi Gakuen, etc.Unique Elements of JumpArnold and Taro YamadaJump is unique in a number of ways from its primary competitors and contemporaries, with one of the notable aspects of its decades-long run being the covers. Many manga magazines since the 80's and 90's have used photo covers (primarily of gravure idols) to entice a secondary audience to the magazine but Shonen Jump is extremely rare for its length and demographic for almost exclusively using illustrated covers featuring the actual manga contained within. Even more specifically, the very rare exceptions have not been idols but people like Ayrton Senna, Arnold Schwarzenegger or the authors of the manga themselves. Also, despite launching when alternative manga was becoming mainstream, Jump did not have a period of using alternative covers like Magazine and Sunday were doing in the late 60's and early 70's.Jump is also fairly unique in that it features most of its new series on the cover for their first chapter, at least since the 80's, though there have been a number of very notable exceptions to this. Most magazines wait for series' to get popular before giving them the cover if their manga are even given the cover in the first place.Serials run in Weekly Shonen Jump are not strictly bound to any set genre or style parameters, though the magazine has a tendency to directly inspire its future creators (many of whom were assistants to Jump mangaka before debuting with their own serials). Perhaps due to its competitive nature in trying to remain popular, many of the pillars of Jump have very similar tropes and themes. This usually works with one series becoming popular and later or contemporary series adopting aspects of it into their own manga. This can range from references and cameos, to explicit tributes or many other stylistic things that are often seen as part of the formula of a successful shonen manga.The most all-encompassing genres generally published in Jump are sports manga, battle manga and gag manga; though these limits are regularly pushed to include non-traditional sports, new battle systems or more bizarre gags. However, one of the biggest things that makes Jump manga easily identifiable is the self-referential nature of many series. It is very common for a series to at some point feature somebody reading or talking about Jump with a number of them going a step further and having it be a plot point in an otherwise serious story (gag manga are especially prone to referencing Jump and breaking the fourth wall). While for each individual series this is generally a minor detail, for readers of the magazine it is an easter egg which becomes infinitely more obscure when collected, as the reference can be to a decades-old contemporary that never became popular or that readers may not even realize ran in the magazine at the same time.Cover of WSJ #1135References range from every serial in an issue featuring a cameo of Kankichi Ryotsu or Luffy's straw hat, to a series directly about making a Jump manga (Bakuman.), mangaka and their editors appearing in the serials themselves (Dr. Mashirito, Shimabu, Hideaki Amachi, Masakazu Katsura), two serials crossing over (Sket Dance × Gintama or Toriko × One Piece or Toilet Hakase × Onna Darake), chapter covers being special tributes to beloved serials that ended in that specific issue (One Piece chapter covers for the final chapters of Naruto, Kochikame, Toriko) to a vast variety of major characters reading the magazine; sometimes in very dramatic ways such as Maeda Taison surviving being stabbed in the gut because he had a recently published issue in his jacket to Jotaro Kujo introducing Star Platinum and the concept of Stands by having it get him the latest Jump while he was stuck in a jail cell.There are also many reader-submitted elements of the Jump magazine that can massively impact a series such as fan-submitted character or creature designs (Kinnikuman, Bobobobo, Toriko) which are adapted by the author to varying degrees to fit into their story. There are also popularity polls that can directly impact the direction of a series based on which characters the author learns are most popular with readers. The magazine also has more direct references between the creators of the manga themselves with author comments being included in the table of contents for each issue. These comments can include messages of support for the debut of their assistants, tributes to authors that have ended their series/passed away or even authors taking jabs at each other over drama between their series (as happened between the authors of Makuhari and Kusagiki).ControversiesWhile Jump has experienced general controversy in its long lifetime like most popular media, it is generally not significant and revolves around questions of content being age-appropriate or influencing kids negatively. There have also been cases of people getting arrested for posting early spoilers of the magazine online. However, in a select few cases, controversy has directly influenced a series and even more rarely, resulted in cancellation regardless of how popular the series is.Harenchi Gakuen: As one of Jump's very first hits, Harenchi Gakuen was designed to be controversial and used this controversy to help boost public awareness of the magazine. One of the first ecchi manga, it was scandalous for its time but tame by modern standards (and much less explicit in comparison to later Jump serials). As it was a gag manga, the provocative situations were treated very light-heartedly but proved influential to young boys who would emulate the perverted actions of the characters (such as lifting up girl's skirts in schools). The series caused a lot of public outrage in Japan but the magazine notably was proud to publish it and defended the work. Though it did end once in a dramatic fashion, it returned a few months later and was ultimately serialized non-continously for four years.Shiritsu Kiwamemichi Kōkō: The debut serial of Akira Miyashita (who would go on to be one of the defining creators of Jump's Golden Age). Though the series was popular, backlash came when an offhand claim by a character that he violently conquered several schools displayed five actual school names and information without their permission (snuck in by an assistant) and all the schools protested this slip-up. The series was quickly cancelled and never properly preserved or collected so that it was never even reprinted for over thirty years (despite the author becoming a huge success just a few years later). When it was finally collected in full, scans of the magazine issues themselves had to be used and the controversial panels were censored.Moeru! Oniisan: A popular gag manga, one chapter proved controversial due to its unflattering depiction of a school janitor and the offending chapter was not collected. In the magazine the series then changed its name to Moeru! Oniisan 2 (but this was not replicated in the volumes).Makuhari: A controversial first series by an author who would become famous for being controversial, this was a major early example of a Jump gag manga that heavily referenced its own contemporaries and real-life celebrities and wasn't always well-received. One chapter featuring a real-life celebrity making a joke at the start was censored in collections to remove this part though most of the series' craziness was left intact.Seikimatsu Leader-den Takeshi!: A popular gag/battle manga that began in 1997, it was very popular for a time but after five years and while in the middle of the battle between the final boss, the author (Shimabakuro) was arrested for paying a sixteen-year-old for sex and the series was abruptly cancelled, the final chapters not collected and the original collections went out of print. A couple years later, the final chapters were published in Super Jump and larger editions of the series were published that collected everything. In 2008, Shimabu was able to return to Shonen Jump with Toriko (which ran for eight years). If he had not been arrested, Toriko likely would have started in 2003 as it's original pilot appeared in Jump in 2002, when Takeshi was heading toward its natural conclusion.Kuroko no Basuke: While not cancelled, Kuroko no Basuke was the subject of a significant controversy when its anime started and the series became highly popular in the dōjinshi scene (particularly with yaoi dōjinshi) which meant that a mostly female audience had latched on to the male cast of characters and began writing and sharing their own fan works featuring male cast members as a romantic couple. Historically, this had been a large part of Jump's audience since the 1980's with a Captain Tsubasa dōjinshi being reworked to create Zetsuai 1989, one of the most important early yaoi manga. However, various places connected to Kuroko including the author, the station that broadcast the anime and places that sold the dōjinshi and other items related to the series were sent threatening letters containing a suspicious powder or liquid and this led to a ban of any Kuroko material to be sold at various dōjinshi events. The 36-year old suspect was caught and arrested on December 15, 2013. On March 29, 2015 a special dōjinshi event dedicated to Kuroko was held in response to the previous ban. Kuroko never missed an issue during its run and remained popular to the end, even getting the cover the issue before its final chapter in 2014.Act-Age: A manga that had started slowly and begun to build momentum over its first years, it was on the verge of receiving multiple adaptations and already receiving an abundance of cross-promotional material when its writer was arrested for groping a teenage girl on the street. It was abruptly cancelled in the middle of an arc and disowned by the artist who has since appeared in Jump again. Due to this happening in the digital era, not only were its physical collections discontinued (causing a spike in sales) but its digital volumes were also removed from online stores.Jump MangakaNo. 9, 1970 (Magazine, Champion, Sunday, King and Jump)In the era when Jump launched, it was actually the fourth major Weekly Shonen (as King existed), and when Champion followed a year later it was part of a large network of five magazines which often fought for dominance and it was never completely definitive which was the most popular of this period. As part of the trend of this time, it was extremely common for mangaka to appear in multiple weekly shonen magazines and several appeared in all five (sometimes simultaneously). As such, Jump's earliest years are filled with creators who came from or are most associated with other weekly shonen magazines but often had a much more minor role in Jump. Below are the most significant examples (including all the creators from the first issue minus the reprinted comic strip and the one complete unknown creator who is not known to have done anything else).Go Nagai (Jump Debut: No. 1, 1968): Creator of one of Jump's first major hits, Harenchi Gakuen, it appeared in one-shot form in the magazine's first issue but only debuted as a serial a few months later. It was an instant hit for its boundary-pushing controversy and made Nagai into a household name. Though it was his debut serial and ran for a few years (with breaks in between), Nagai quickly became too big for just Jump and migrated to many other magazines. While Harenchi Gakuen remained one of his longest continuous serials, the ones that spawned the largest franchises were in other shonen magazines and hits published simultaneously with his Jump work appeared in Magazine, Sunday, Champion and others. His second and last Jump serial was Mazinger Z which ended up leaving Jump for other magazines before its end as Nagai was already at the peak of his popularity. Notably, he did still publish for Monthly Shonen Jump after leaving Weekly.Hiroshi Kaizuka (Jump Debut: No. 1, 1968): Creator of Chichi no Tamashii, which was the longest serial to debut in Jump's first issue, he had previously had serials in King, Sunday and other magazines. He also had one of the few serials to debut in the first issue of Champion (while he was working on Chichi). However, despite his series lasting until the end of 1971, he never returned to Weekly Shonen Jump and left to draw an even longer work at Sunday (written by Ikki Kajiwara). Though he did serialize a final arc to Chichi in Monthly Shonen Jump, his longest-lasting legacy in Weekly was having the protagonist of one of Jump's longest-running early series, Dokonjō Gaeru, named after him (as its creator had been his assistant).Sachio Umemoto (Jump Debut: No. 1, 1968): Creator of the series that received half of the first issue's cover, Kujira Daigo, he did several very short serials for Jump in the beginning but many were uncollected and he left to do longer works in magazines like Sunday, Champion and King.Fujio Akatsuka (Jump Debut: No. 1, 1968): One of the biggest gag manga creators of all-time, his major serials like Tensai Bakabon and Osomatsu-kun primarily ran in Magazine and Sunday, where he had been working since the early 60's and his primary Jump serial was only the very brief Ore wa Gebatetsu!. Jump's publisher, Shueisha, were the creators of the Akatsuka Award to honor new creators in comedy manga and Akatsuka's asssistant Kazuyoshi Torii created one of the most popular Jump manga of the 70's with Toilet Hakase.Mikiya Mochizuki (Jump Debut: No. 1, 1968): While he published a few very short serials in Shonen Jump in the 70's such as Totsugeki Ramen, Japasshu and The Kicker; in King he was simultaneously publishing Wild 7 which ran from 1969-1979 and is one of the biggest series' in its publisher's history. He had been a regular in King since its start in 1963 and remained there into the mid-80's while simultaneously producing work in many other magazines. In Jump, his assistant Ko Inoue drew the popular baseball manga, Samurai Giants.Kazuo Umezu (Jump Debut: No. 1, 1968): While he appeared in Jump's first issue, he never had a serial for them and instead is most associated with Sunday (Orochi, Again, Hyōryū Kyōshitsu, Makoto-chan) and later seinen horror manga.Keiji Nakazawa (Jump Debut: No. 2, 1968): Important creator of autobiographical manga who was one of the first to have his translated work published in English. He had previously had serials in magazines like King and while Jump was one of the primary magazines that helped publish his career-defining work, including debuting his best-known serial (Hadashi no Gen), it didn't prove to be the best home for his style and Hadashi no Gen had to be completed with other publishers.Toshio Shoji (Jump Debut: No. 3, 1968): He wrote one of Jump's first collected serials, the short Ore wa Kamikaze, but had already established himself with long-running series for other shonen publishers like Yūyake Banchō and quickly left Jump to do other work, including a 37-volume series for King (Cycle Yarō).Ryoichi Ikegami (Jump Debut: No. 5, 1968): Still establishing himself in the mainstream at the time, Ikegami produced a few one-shots for Jump as well as the short Kasane serial. His first series had been in King and much of his early one-shots were in the alternative Monthly Manga Garo but before his move to seinen in later decades he found his biggest success in shonen with Weekly Shonen Sunday.Noboru Kawasaki (Jump Debut: No. 6, 1968): The artist of Magazine's Kyojin no Hoshi which was one of the most popular shonen manga of the time and started serializing in 1966. He was the artist for several short Jump serials with the only long-running one being Kōya no Shōnen Isamu which ran for several years in the early 70's and was one of the big Jump series of that era. Though highly popular with Jump itself, his later long-running serials were once again for other magazines like Musashi in Sunday.Ikki Kajiwara (Jump Debut: No. 10, 1968): The writer of Magazine's Kyojin no Hoshi (see Noboru) and simultaneously the Magazine serial, Ashita no Joe (which started serializing in 1967 in the same magazine). He was already writing two of the biggest manga hits of the era and in Jump debuted with a very short-story drawn by Noboru (Otoko no Jōken). His only long-running serial in Jump was writing Samurai Giants (which launched alongside Noboru's Isamu and ran for a few months more), though it has been historically overshadowed by his mega-hits with Magazine and the many other magazines he was published in.Shotaro Ishimori (Jump Debut: No. 11, 1968): One of the most active mangaka of all-time, he appeared all over manga for decades in shojo, shonen and seinen but his only appearance in Jump was a single one-shot. He had multiple serials in all of the other four weekly shonen magazines.George Akiyama (Jump Debut: No. 6, 1969): One of those creators who immediately went for exposure at as many magazines as possible, he had serials in all five of the weekly shonen publications. While he had several short serials in Jump from 1969-1974 such as Bara no Sakamichi, Kurohige Tanteichō or Hai ni Naru Shōnen (with a final one for a few weeks in 1984), his longest or most controversial were often running simultaneously in Magazine or Sunday and after this hugely productive but brief period of shonen serials, he moved to seinen manga. His Haguregumo series, started in 1973 and ended in 2017 with 112 volumes, remains one of the longest continuous manga of all time.Hiroshi Asuna (Jump Debut: No. 7, 1969): A regular author in shonen and shojo manga, he didn't typically produce very long works but had a handful of short serials and one-shots in Jump. His most enduring shonen series ran in Weekly Shonen Champion.Leiji Matsumoto (Jump Debut: No. 9, 1969): A creator who was already really active in shonen (primarily through Magazine) and seinen manga, he later became well-known for his science fiction works. While he had a short serial in Jump, it was really building off a story he had started earlier in Shonen Book. He briefly returned a decade later (when he was one of the major authors in King) to submit two one-shots in the annual competition where readers voted for which creators they wanted to see a one-shot from the most (these one-shots tied into his then-established science fiction universe).Shintaro Miyawaki (Jump Debut: No. 14, 1969): His only contribution to Jump was a three-part serial about Che Guevara but he later went on to draw the infamous and long-running seinen manga The Rapeman.Fujiko Fujio (Jump Debut: No. 15, 1969): At the time a jointly-credited major pen-name in manga that later split their works into who did what when they dissolved their partnership. Only one of them appeared in Jump but he did five one-shots, as a duo they appeared nearly everywhere and Abiko in particular (who appeared in Jump) had major success in King, Champion, Magazine and Sunday.Tetsuya Chiba (Jump Debut: No. 20, 1969): Artist of Magazine's Ashita no Joe (see Ikki Kajiwara) and Harris no Kaze before that, he was already a well-established major figure in shojo and shonen manga but for Jump his only serial was the eleven-chapter Mosa (he continued producing many-long works for Magazine and other magazines). His younger brother and former assistant Akio Chiba made his major break-through with Bessatsu Shonen Jump (later known as Monthly Shonen Jump) and created the very popular Play Ball manga for Weekly Shonen Jump in the mid-70's.Shinji Mizushima (Jump Debut: No. 2-3, 1970): One of the most prolific mangaka of all time, he had serializations in all five weekly shonen magazines within a few months of each other. He would go on to have several serials in all the other four magazines (often simultaneously) including highly popular series that lasted for years in Champion, Sunday and Magazine. But his only Jump serial was Geppare! Ōta-Tōshu which lasted for ten issues and was never even collected and is debatably even his work (advertised as his on covers but within the issue itself also crediting his assistants whose work it more closely resembles). He was unable to enter the annual one-shot contest despite being voted for by readers.Shigeru Mizuki (Jump Debut: No. 14, 1970): Creator of the highly beloved GeGeGe no Kitarō series, which actually had its origins in underground manga but had been picked up by Magazine in 1965, his only Jump work was the short, Sennen Ōkoku, and he is much better remembered for many other works though Sennen is usually re-released as a subtitle for one part of his Akuma-kun series. He appeared in many of the shonen and seinen magazines of his time.Takumi Nagayasu (Jump Debut: No. 44, 1970): Nagayasu had one short series for Jump in 1971 that was never collected but he also worked in Champion and Sunday with his biggest shonen series running in Magazine. He later had a successful career in seinen manga, particularly for Weekly Young Magazine.Shiro Kasama (Jump Debut: No. 47, 1970): A popular early erotic manga artist, he was more associated with early seinen magazines like Manga Action but drew an uncollected serial for Jump in late 1970.Toru Shinohara (Jump Debut: No. 48, 1970): More famous for his seinen manga (like Wani Bunsho and Sasori), which he was actively working on at the time of his Jump serials, he had two short works published in Jump but they never have been collected.Osamu Tezuka (Jump Debut: No. 13, 1971): One of the most revered and prolific manga creators of all time, he appeared in virtually every major (and many minor) manga magazine of his lifetime. He had multiple serials in Magazine, Sunday, King and most notably Champion (where he serialized Black Jack, one of his longest continuous works as well as various other works beginning with its very first issue). Yet his only serial in Jump (Lion Books) was not actually a serial at all but a monthly series of one-shots. The longest one was published in four parts and collected as a single tankobon (Hyaku Monogatari), one chapter has never been collected. Jump's publisher, Shueisha, were the creators of the Tezuka Award to honor new creators in story manga. Tezuka also had two assistants contribute regularly to Jump, the first (Kotaro Komuro) very much resembled his art-style and was active in Jump through the 70's, the second was Buichi Terasawa who produced the popular Cobra series.Baron Yoshimoto (Jump Debut: No. 21, 1971): Another mangaka normally associated more with early seinen manga magazines like Manga Action, he produced two short series for Weekly Shonen Jump which were first collected in the 70's but not by Shueisha.Besides Shinji Mizushima who may not have truly appeared but almost did, there were a number of other notable absences of authors who were active in all the other magazines or almost appeared in Jump like Mitsuru Adachi (who was nominated to appear in the annual readers one-shot contest), Sanpei Shirato (whose assistant did appear), Takao Saito (a major contributor to Magazine, Champion and Sunday), Kazuo Koike (who wrote for most shonen and seinen magazines of the time), Mitsuteru Yokoyama (who had popular series in all the other four) and Monkey Punch (who had a very similar but mysterious look-alike in Bancho Kano who created a very Lupin-esque series called Nusutto that was popular enough at the time to get the author on the cover of Jump but not collected and the author became an obscurity).Mankichi TogawaOf all these highly notable mangaka to appear in Jump's early era (which had little indication of what the magazine became), the first and primary creator to generally stick with Jump and help define the magazine was Hiroshi Motomiya who debuted in No. 4, 1968 and began his first Jump serial (Otoko Ippiki Gaki-Daishō) in No. 11 of the same year. The series proved to be such a massive hit that Motomiya was actually forced to extend it beyond his intended ending.The series ended in a fashion three different times, the first major ending in 1971-13 was the author's intended ending and the one that he preserved in later collections when he had more sway in the industry. The series got the cover of this issue but editorial advertised the series as returning a few issues later and it did so in 1971-17. The second major ending was in 1971-51, again the series received the cover but the opening pages of the magazine (which would normally be a lead color) was a celebration of Motomiya's marriage to shojo mangaka Jun Morita and included photos of major Jump authors in attendance. This time the series advertised his return for the following year with his second series, Musashi. But while Musashi was still ongoing, Otoko Ippiki released three bangaihen chapters and these became the focus of Motomiya's presence in the magazine and Musashi was ended early a few months later. Otoko then returned for one final stretch before it ended its run permanently in early 1973 and Motomiya began regularly returning with new shorter series instead through the 70's and 80's. A two-part epilogue to Otoko Ippiki was also published in Jump in 1983 and it regularly returned to the cover for anniversary celebrations.While this tactic of editorial meddling forcefully extending a series against its author's wishes is highly questionable, the series did influence and inspire many young mangaka who would come to work for Jump and Motomiya was ultimately able to serialize many other shorter works in the magazine's history (appearing in over 630 of the magazine's first 950 issues) and only left in 1987 to focus on seinen manga. Motomiya kept his association with Shueisha where he has become one of the publisher's most published authors by a significant margin with his 90's hit Salaryman Kintaro being his longest and best-selling series. While he did use his success at Jump to appear in many other magazines through the 70's and 80's including the other major weekly shonen magazines, unlike the authors listed above, he did not leave Jump during this time and remained a fixture of the magazine.Hiroshi Motomiya in Jump's offices as depicted in Shinji Hiramatsu's Gedoh-ManWhile working in Weekly Shonen Jump he had one of the first major series of the spin-off Monthly Shonen Jump, his works were among the first published in many new Shueisha collection formats/brands (Playboy Comics in 1977, Jump Super Comics in 1976, Young Jump Comics in 1980) and he was among the most prominent creators in the first issue of several seinen magazines (Weekly Young Jump, Big Comic Spirits, Morning, Manga Allman and Grand Jump). Otoko Ippiki not only launched the Jump Comics brand in 1969 but reprint editions helped launch the Shueisha Manga Bunko brand in 1976 and the Shueisha Bunko brand in 1995.It is the protagonist of Otoko (Mankichi Togawa) that represents the first true major Jump hero and it is the creators inspired by it and who worked as assistants for Motomiya that became the first generation of Jump-defined creators, kicking off the modern Jump lineage. It is in this period that Jump began to fully define itself in the 70's and that it created the system of talent for which it is generally known for, with the majority of its creators after this being rookies who made their debut with Jump and often people who worked as assistants on Jump manga before debuting with their own.Motomiya himself had many major assistants and at least two legendary authors serialized tributes to Otoko Ippiki in Jump after they became successful (though neither of these manga lasted). Several of Jump's biggest creators were originally assistants for other major creators before them and even creators who were never assistants have talked about how they were inspired or influenced by their predecessors and contemporaries in Jump (example: Masashi Kishimoto being influenced by Ninku but not working as a Jump assistant). Or on the other end of the spectrum, some mangaka who were not assistants have had their assistants attempt Jump serials, and there are many examples of short serials in Jump's history by creators who were Jump assistants (example: Osamu Akimoto was not an assistant of a Jump author but his assistants Hiroshi Aro and Masatoshi Usune had Jump serials).Though a complete and exhaustive list would become excessive, these are the authors in Jump with more than 300 appearances (listed in order of most appearances) and a listing of who they were an assistant for or who was their assistant that also appeared in Jump:Osamu Akimoto: assistants included Hiroshi Aro, Masatoshi Usune and Chinatsu TomisawaEiichiro Oda: assistant to Masaya Tokuhiro, Nobuhiro Watsuki, Shinobu Kaitani and ManGataro...assistants included Katsunori Matsui, Tatsuma Ejiri, Haruto Ikezawa, Ryo Ishiyama and Yusaku ShibataAkira Toriyama: assistants included Hisashi TanakaHirohiko Araki: assistants included Hirohisa Onikubo, Yasuki Tanaka, Hiroshi Shiibashi and Hideo ShinkaiMasashi Kishimoto: assistants included Mikio Ikemoto, Yuichi Itakura and Osamu KajisaHideaki Sorachi: assistants included Kenta Shinohara, Yoichi Amano and Tsunehiro DateYoichi Takahashi: assistant to Shinji Hiramatsu...assistants included Nobuhiro WatsukiMasanori Morita: assistant to Tetsuo Hara...assistants included Fumihiko Ota, Daimuro Kishi, Yasuteru Iwata, Nobuhisa Tsuruoka and Tatsunosuke SonodaMasami Kurumada: assistant to Hiroshi Motomiya and Ko Inoue...assistants included Jun TomizawaTakeshi Obata: assistant to Makoto Niwano...assistants included Nobuhiro Watsuki, Kentaro Yabuki, Yusuke Murata and Yoshiyuki NishiHiroshi Motomiya: assistants included Yoshihiro Takahashi, Buronson, Masami Kurumada, Tatsuya Egawa, Tatsuo Kanai, Keizo Maekawa and Tetsuya SaruwatariAkira Miyashita: assistant to Yoshihiro Takahashi...assistants included Shinji ImaizumiTsukasa Hojo: assistants included Takehiko Inoue, Haruto Umezawa and Yoshihiro YanagawaMasaya Tokuhiro: assistants included Eiichiro OdaKyosuke Usuta: assistant to Koji Inada...assistants included Kohei FujinoTetsuo Hara: assistant to Yoshihiro Takahashi...assistants included Masanori Morita, Koji Maki, Shingo Todate, Katsuhiro Nagasawa and Shinji ImaizumiYoshihiro Takahashi: assistant to Hiroshi Motomiya...assistants included Akira Miyashita and Tetsuo HaraShinji Hiramatsu: assistant to Norihiro Nakajima...assistants included Yoichi Takahashi, Tetsuya Saruwatari and Kazumata OguriBuronson: assistant to Hiroshi MotomiyaMasakazu Katsura: assistants included Yoshihiro Kuroiwa and Koji InadaHaruto Umezawa: assistant to Tsukasa Hojo...assistants included Nobuhiro WatsukiAkira Amano: assistants included Kenji Sakaki, Kaito and Sho AimotoMotoei Shinzawa: assistants included Tadashi SatoTakeshi Konomi: assistant to Hajime Kazu, Yuko Asami and Koji KiriyamaKentaro Yabuki: assistant to Takeshi Obata...assistants included Toru UchimizuYūsei Matsui: assistant to Yoshio Sawai...assistants included Kazuya YamamotoTakeshi Okano: assistants included Yuko Asami and Yuki HidakaNorihiro Nakajima: assistants included Shinji Hiramatsu, Kazuto Kurosaki and Motoka MurakamiNobuhiro Watsuki: assistant to Ryuji Tsugihara, Yoichi Takahashi, Takeshi Obata and Haruto Umezawa...assistants included Eiichiro Oda, Hiroyuki Takei, Shinya Suzuki, Shinga Gin and Mikio ItoMakoto Niwano: assistants included Takeshi Obata, Toru Uchimizu and Nobuhisa TsuruokaShuichi Aso: assistants included Masahiro HirakataKoji Inada: assistant to Masakazu Katsura, Masatoshi Usune and Yoshihiro Kuroiwa...assistants included Teruto Aruga and Kyosuke UsutaKohei Horikoshi: assistant to Yasuki Tanaka...assistants included Masaru Miyokawa and Yusaku ShibataYusuke Murata: assistants included Yoshiyuki Nishi, Yuichi Itakura, Yuki Nakashima, Yukinori Kawaguchi, Ryosuke Takeuchi, Masaru Miyokawa and Kohei FujinoTadatoshi Fujimaki: assistant to Tatsuma Ejiri...assistants included Kawada, Shota Sakaki, Ichiro Takahashi, Kazuki Kitashima and Kento TerasakaYasumi Yoshizawa: assistant to Hiroshi KaizukaKazuyoshi Torii: assistant to Fujio Akatsuka...assistants included Kimio YanagisawaShun Saeki: assistant to Tadahiro MiuraHiroyuki Takei: assistant to Nobuhiro Watsuki and Koji Kiriyama...assistants included Kei Kawano, Yusuke Takeyama, Katsunori Matsui and Yoichiro TanabeYoshio Sawai: assistants included Yusei MatsuiRyuhei Tamura: assistant to Toshiaki IwashiroYuki Tabata: assistant to Toshiaki Iwashiro...assistants included Masayoshi SatoshoFinal Mangaka Cover, 1997-05-06In the past, the authors of Jump would annually appear together in a group shot on the cover of the magazine (often dressed in themed costume), but as mangaka became more private about their personal appearance this trend totally stopped after the 90's with many successful mangaka in later Jump history being virtual unknowns as individuals. Traditionally mangaka included pictures of themselves in their own collections as was common internationally with authors of books as well but these too became less common in the 90's and were replaced by drawings. As a result fans often speculate on the identities of more popular private authors, such as debating whether they are male or female or even if they are actually secretively other published mangaka using a new pen-name. There are also several major examples of authors becoming close friends who debut in the magazine around the same time like Toriyama and Katsura, Shimabukuro and Oda, Kobayashi and Akimoto or Morohoshi and Hoshino. These annual events where authors meet one another have been mentioned as nerve-wracking or inspiring by young creators and occasionally have been depicted in manga.Historically Jump has been quite strict with authors putting out a new chapter each issue, creating an intense work schedule that has burned out many but they began greatly loosening up on this in the late 90's with some established authors being given more room to have absences. Many of Jump's most legendary authors are never able to make weekly series again with a few notable exceptions. Some of these authors are granted more leeway in Jump itself to return with short works or take many breaks (examples: Cowa! or Hunter x Hunter) but many move to other slower-paced magazines like biweeklies, monthlies or quarterlies while some stick to weeklies but don't actually put out material at a consistent weekly pace anymore (example: Real).One-Shots and Pilot ChaptersPilot Chapter of Video Girl, Published in the Seasonal SpecialApart from its earliest days before it had a proper stable of ongoing titles, Shonen Jump usually publishes less one-shots than other magazines and in many cases (either at the time or retroactively), these one-shots are done by creators who also worked on serials in the magazine. Often one-shots are either used to fill in an unexpected absence of a serial (in which case the one-shot tends to be by an unknown creator) or more often, the magazine features a series of one-shots as part of some event. These events usually range from five to ten one-shots. In a rare few cases, one-shots are even given the cover of the magazine.In earlier years, these events (Aidoku Shashō) featured creators who were already popular doing one-shots (all while still producing their main serial) but since 2004, the one-shots are usually part of the Gold Future Cup, an event wherein the winner can theoretically create a serial based off their one-shot (though there's really no set protocol to this, see that page for more details).With the majority of Jump serials having started as a one-shot that was reworked for the serial, most creators start off doing one-shots; though the majority of these are not published in the main Shonen Jump magazine but in its various spin-offs over the years. Weekly Shonen Jump has had many spin-offs over the years (with most of the \"Jump\" magazines being descended from it in some way or another), but its most direct spin-off has gone under many different incarnations.Beginning in 1969 as extra issues of the magazine, where creators like Akira Toriyama, Tsukasa Hojo, Hirohiko Araki or Tetsuo Hara would publish their earliest one-shots, in 1985 it became an official seasonal spin-off (see here), which would continue to publish one-shots by creators that would later make it big. It went through numerous name changes in later years including Akamaru Jump, Jump Next!, Jump Giga and Jump ×. The longest-running independent magazine that came out of Weekly Shonen was its monthly counterpart, originally known as Bessatsu Shonen Jump, it then lasted for decades as Monthly Shonen Jump and is now known as Jump SQ.Apart from many one-off issues or short-lived magazines, major Jump magazines have included:1970 Bessatsu Shonen Jump (one-shots, reprints and a few serials)1974 Monthly Shonen Jump (renaming of Bessatsu Shonen Jump with more serials rather than reprints)1979 Weekly Young Jump (seinen magazine that has featured many authors that first came from Weekly Shonen Jump)1982 Fresh Jump (had many one-shots of new authors but also its own series)1982 Business Jump (spin-off of Weekly Young Jump with its own series)1983 Hobby's Jump (prototype at a video-game oriented Jump magazine with one-shots and some limited series)1985 Weekly Shonen Jump Seasonal Special (mostly one-shots of new authors but always sold off the brand of bigger name authors from Jump who would also appear with one-shots, short serials or bonus material like posters)1985 Jump Original (spin-off of Monthly Shonen Jump with one-shots and its own limited series)1986 Super Jump (seinen spin-off of Weekly Shonen Jump that took on many of its authors to create new series)1990 V Jump (mixed-media magazine with a focus on magazines, it originally had very limited manga but has since expanded its manga content)1995 Ultra Jump (spin-off of Weekly Young Jump that features a number of its own series, they tend to be more niche than the other magazines)1997 Akamaru Jump (renaming of Seasonal Special)2007 Jump SQ (renaming of Monthly Shonen Jump)2010 Jump Next! (renaming of Akamaru Jump)2011 Grand Jump (a merging of seinen magazines Super Jump and Business Jump into a single magazine)2011 Saikyo Jump (joint spin-off of V Jump and Weekly Shonen Jump, it tends to feature franchises from these magazines aimed at an even younger audience)2011 Jump X (a spin-off of Weekly Young Jump with its own series)2016 Jump Giga (renaming of Jump Next!)Sequels and Spin-OffsAll these spin-off magazines are often separated from Weekly Shonen Jump by one major factor; while WSJ rarely runs sequel series even to its most successful franchises, many of these other magazines' longest-running series are sequels and specifically sequels to series from WSJ. Within Weekly Shonen Jump some series have ties to each other such as shared characters (like Hareluya and BØY) or universe (like Dr. Slump and Dragon Ball) but the only major sequels in the magazine's history were primarily renamed serials that never really ended with one flowing right into the next (though there were a few exceptions).Gokutora Ikka featuring the protagonists of Kiwamemechi KokoThe only major sequels to run in WSJ are:Play Ball (which ran concurrently with Captain, the series from Monthly Shonen Jump it spun out of)Yamazaki Ginjiro (a sequel to Motomiya's hit Koha Ginjiro from Monthly Shonen Jump which itself was based on a one-shot that was published Weekly Shonen Jump)Geki!! Gokutora Ikka (a sequel/spin-off that continued plot threads from the controversially cancelled Shiritsu Kiwamemechi Koko)High School! Kimengumi (a renaming of Sannen Kimengumi)Shin Jungle King Tar-chan (a renaming of Jungle King Tar-chan)Captain Tsubasa: World Youth (the first of many sequels to Captain Tsubasa, but only one in WSJ)Stone Ocean/Steel Ball Run (rebrandings of JoJo)Shinsetsu Bobobōbo Bōbobo (renaming of Bobobōbo Bōbobo)Boruto (sequel to Naruto that is even more unique for being a sequel not written or drawn by the creator of the original series, it was ultimately moved to V Jump where these sorts of spin-offs traditionally appear; given it had only ever been monthly even in WSJ, it's unclear why the exception was made at all)On the other hand, many Shueisha manga magazines (and even some magazines from other publishers) are in part held up by sequels or spin-offs from this magazine. Examples include:Ultra Jump No. 5, 2007: Ninku Second Stage - Etonin HenShueisha Magazines1966 Weekly Playboy (Taiyou no Makibaō, Modena no Ken, Kinnikuman Nisei)1974 Monthly Shonen Jump (Miracle Tonchinkan, Chichi no Tamashii: Pro-Yakyu Hen, Ore no Round)1979 Weekly Young Jump (Captain Tsubasa: Road to 2002, Captain Tsubasa: Golden-23, Tōdai Kaishingeki, Beshari Gurashi, I-Chome no Sunami-chan, Battle Blue, Hoshin Engi Gaiden)1982 Business Jump (Chinyūki 2: Yume no Inzei Seikatsu-Hen)1983 Fresh Jump (Tatakae!! Ramenman)1985 Weekly Shonen Jump Seasonal Special (Bastard!!)1986 Super Jump (Ring ni Kakero 2, Akatsuki!!, Cobra, Murder License Kiba & Black Angels, Reibaishi Izuna, Seikimatsu Leader-Den Takeshi)1988 Bears Club (Yokai Hunter)1990 V Jump (Dragon Ball Super, Yu-Gi-Oh! GX, The Brief Return of Dr. Slump, Dragon Quest: Dai no Daiboken)1995 Ultra Jump (Ninku: Second Stage, JoJolion, Jumbor)1995 Manga Allman (Libero no Takeda)2001 BJ Kon (The Momotaroh Part 2)2007 Jump SQ (To Love-Ru: Darkness, The New Prince of Tennis, Rurouni Kenshin: Hokkaido Hen, World Trigger, D.Gray-man)2010 Jump Next! (Beelzebub Bangaihen, Kuroko no Basuke: Extra Game, Nurarihyon no Mago)2011 Grand Jump (Captain Tsubasa: Rising Sun, Jigoku Sensei Nūbē Neo)2011 Jump X (Shaman King: Flowers)2011 Saikyo Jump (Gourmet Gakuen Toriko, One Piece Party, Korosense-Q!, Rock Lee no Seishun Full Power Ninden, Jigoku Sensei Nube S)Weekly Comic Bunch No. 36-37, 2010: Soten no Ken and Angel Heart Digital ServicesShupure News (Kinnikuman, Otokozaka, Taiyo no Makibao W)Shonen Jump+ (Muhyo to Roji: Mazoku Magushi-Hen, Shokugeki no Soma L'etoile, Magical Patissiere Kosaki-chan, iShojo+, Vigilante: Boku no Hero Academia Illegals)Ura Sunday (Whistle! W)Magazines from Other Publishers1969 Weekly Shonen Champion (Saint Seiya: Next Dimension)1971 Weekly Manga Goraku (Ginga Densetsu Weed, Goku!! Otokojuku, Shin Doberman Deka, Majima, Bazeru!!, Kami-sama wa Southpaw Diamond, Shiritsu Kiwamemechi Koko 2011)1990 Young Comic (Bomber Girl Crush)1991 Monthly Shonen Gangan (Flash! Kimengumi)1998 Comic Ran (Oedo Black Angels)2001 Weekly Comic Bunch (Sōten no Ken, Angel Heart, Kabushikigaisha Daiyamada Shuppan Kari Henshū Buin Yamashita Tarō-kun, Godsider Second)2001 Comic Tokumori (Outer Zone Re:visited)2002 Champion Red (Saint Seiya Episode.G, Fuma no Kojiro)2006 Young Champion Retsu (Godsider Saga)2010 Comic Zenon (Angel Heart: 2nd Season, Gifū Dōdō!! Naoe Kanetsugu: Maeda Keiji Hana Gatari, Cyber Blue, Cat's Eye)International PopularityFormosa Youth Translating Dragon Ball Super from V JumpAs part of being the most popular manga magazine in Japan, Weekly Shonen Jump (and specifically its most popular series) are very popular around the world. Though internationally Jump is most popular in Europe and East Asia, it also has a growing market in the United States (possibly slowed down in the 00's by frequent censorship of highly popular series) and Latin America. The most popular Jump serials will often be published in a number of languages (generally while they are still ongoing in Japan) and several regions have even published their own equivalent to Weekly Shonen Jump such as Comic Champ (Korean) and Formosa Youth (Chinese) and the digital only Weekly Shonen Jump (English).It is worth noting that none of these magazines translate the entirety of Jump and when using Shonen Jump covers that show the mascot character of every series in the magazine, the international editions will edit out the series' that they don't translate. In the case of Comic Champ, original Korean material is heavily featured and in the case of all three magazines, while Weekly Shonen Jump is the most popular source drawn from, material from other Jump magazines like Jump SQ and V Jump is also included. The magazines are used to translate particularly popular material (such as One Piece) while it's still new in Japan but other series that aren't translated in magazine form are still translated and published in collected form.Though Shueisha's English-language publishing partner Viz had increased its effort of simulpubbed new series in its digital version of the magazine over the years, it frequently skipped over series that became successful which it then had to catch up on (such as Kimetsu no Yaiba or Jujutsu Kaisen). But in 2019 it increased its efforts and ended its digital magazine to instead provide an overall service that included much of their Jump back-catalog and began to simulpub all new series in the Japanese magazine.Shueisha quickly followed up with the launch of even more expansive simulpubbing service, Mangaplus, which picked up all the ongoing series Viz had skipped over the years (like Hinomaru Zumo or Jimoto ga Japan) and also began translating more of the Shonen Jump+ library and rereleasing older classics in new editions. Besides being accessible as a service to more countries, Mangaplus also offered other languages with its Spanish service even translating new Jump works the English service skipped over. The magazine is still not fully translated as one-shots are often ignored but even some of these are picked up if the author is high profile enough. With the end of Yuragi-So no Yuna-san in mid-2020 which could not be simulpubbed due to already being licensed to Seven Seas (after Viz passed it over), all the series in the magazine are now officially available internationally on the same day as the Japanese version.",
        "description_formatted": "Proper Japanese Title: 週刊少年ジャンプWeekly Shonen Jump launched in 1968 as Shonen Jump (少年ジャンプ), only becoming weekly and extending its name in 1969, and quickly established itself as one of the dominant magazines in the industry. Though it became the highest-circulating weekly shonen magazine in the early 70's, it became the best-known manga magazine in Japan's history due mostly to its explosive growth from 1983-1995. It was many of these titles from the 80's and on that became not just classic manga but classic anime as well.Peak CirculationJump peaked at a circulation of 6.5 million copies in 1995 before Dragon Ball ended, with Slam Dunk following a year later, and the magazine's circulation dropped by two million with a gradual decrease continuing through the end of the 90's. This fall in circulation was great enough that Jump briefly fell from its position of the number one magazine to number two (after Weekly Shonen Magazine), only regaining its position when Weekly Shonen Magazine suffered its own dramatic collapse a few years later. Perhaps as an indication of the general trend away from mainstream manga magazines, even when Jump regained its top spot in the early 00's with the popularity of new megahits like One Piece and Naruto, it was only able to sustain its readership rather than grow. And with the rise of digital in the mid-10's, the physical circulation has begun to drop steadily again. Whether the magazine is growing or keeping readers through its digital version (launched in 2014) is not fully known. Jump still retains a physical circulation of more than a million copies, something Magazine no longer had as of 2016 (with it currently having half that). Jump's circulation is larger than the combined circulation of the other three currently active weekly shonen magazines (Magazine, Sunday and Champion).Jump was predated by plenty of other already-established shonen manga magazines (including Magazine and Sunday) and from Shueisha itself, it became a replacement for the decade old Shonen Book. But Jump set itself apart with a network of creators that got their start in the magazine and upon leaving either went to the many other Jump spin-off magazines or even the other weekly shonen magazines. Examples of the reverse are quite uncommon outside of Jump's earliest years.Jump MascotWhile many of the best-selling manga of all time come from this magazine, the biggest series' tend to get huge boosts in popularity and growth from their frequent anime adaptations with some titles that weren't doing too well in the magazine (like Kuroko no Basuke or Kimetsu no Yaiba), ending up among the best-selling manga of the decade after the anime boost. Anime popularity tends to result in much more promotion within the magazine itself but on the other hand Jump will do far less promotion of a formerly major series if its anime is over. One of the things that makes the magazine so interesting to fans is that for the most part, the series within are ranked by internal popularity polls each week and placement in the magazine can often directly tie to how well received recent chapters have been. The actual internal poll rankings are rarely revealed so they become a major subject for fan speculation.In a magazine that has run for nearly fifty years, there are bound to be many exceptions but one of the magazine's key characteristics is its high turnover rate with new series. Generally a few series are launched in the magazine every few months and have been since its inception, and at the same time, a few series end to make room. As the long-running series are often established and already performing well, it tends to be the last batch of new titles that is cancelled to make way for the next one with spots in the magazine really only opening up when an established series is finally cut or the author abruptly ends it. It is rare for a series to end while still one of the most popular in the magazine but this has happened a number of times with varying levels of conflict between editorial and the authors.Format of the MagazineChapters Were Two Pages EachIn the first years of the magazine, very few series lasted more than a few issues including works by high-profile authors. Not much lasted even a year and there were quite a few serializations that were only three chapters (this practice has survived somewhat in the modern era with Takuma Yokota, Shun Numa and Shuhei Miyazaki all having three-issue serializations before their major debut series). There were also an assortment of really short gag features that are inconsistently counted as serializations by different sources that may not be seen as such in the modern magazine (as they were only one to four pages an issue). But generally most serializations range from 15-30 pages an issue. As the magazine began to cultivate a number of strong titles in the 70's, the constant cancellation of the old to make way for the new bred a system of high competition for any new series and popular series' were expected to last years. Almost every new serial essentially had to prove itself within three or four months as being more popular than a decent chunk of other titles in the magazine and if it failed, it would be cancelled to make way for another new series.Because of this system, Shonen Jump has published many of the best-selling manga of all time including One Piece, Dragon Ball, Kochikame, Naruto, Slam Dunk, Jojo, Hokuto no Ken, Kimetsu no Yaiba and Bleach which are the majority of shonen manga in history to have sales over one hundred million. Yet the vast majority of titles Jump serialized don't last more than two or three volumes and in the case of titles before the 80's, were often never collected by Shueisha, if at all.Although in the early 70's many series never got a color page at all and certainly didn't for their first chapter, since the 80's virtually every new series is given the same initial promotion with every serial getting collected and most new series getting the cover and the lead color page in the magazine for their first chapter (and then a second color page within their first couple chapters). Beyond this, there are quite a few examples of major creators being given more color pages and covers from the start based off past popularity but how much promotion is based off editorial decisions and how much off reader survey results or volume sales is not clear. Rare examples of manga that did not get the cover for their first chapter (and in some cases did not even get a color page) include some of Jump's most famous from their era: Otoko Ippiki Gaki-Daisho and Harenchi Gakuen (1968), Dokonjo Gaeru and Toilet Hakase (1970), Astro Kyudan (1972), Circuit no Okami and Doberman Deka (1975), Kochikame (1976), Ring ni Kakero (1977), Cobra (1978), Dr. Slump (1980), Captain Tsubasa (1981), Wing-Man (1983), Pyu to Fuku! Jaguar (2000), To Love-Ru (2006) and Boruto (2016).Hirohiko Araki's First SerialJump's constant cancellations of new series can be seen as harsh but creators of failed series are often given new chances with many of the major successes of the magazine starting out as early cancellations. Hirohiko Araki debuted with Mashōnen B.T. which was cancelled after ten chapters, his second series Baoh suffered a similar fate but only a few years later he returned with JoJo no Kimyō na Bōken which lasted for over five hundred chapters. Similar examples include Tetsuo Hara, Kohei Horikoshi, Masami Kurumada, Takehiko Inoue, Takeshi Obata, Yoshihiro Togashi, Haruto Umezawa, Takeshi Konomi, Ryu Fujisaki, Haruichi Furudate, Daisuke Ashihara and Hiroyuki Takei.On the other hand major creators can have their works axed quite quickly if they are not popular with the magazine's audience, though at times they are simply moved to another magazine (Steel Ball Run, Sekiryuo and Beshari Gurashi). Chagecha being cut after eight chapters despite the author having previously done Bobobōbo Bōbobo which lasted for over three hundred is one of the most extreme examples but others include Black Knight Bat (1985), Bakudan (1994), Gakkyu Hotei (2015), Jumbor (2007), Sakura Tetsu Taiwahen (2002), Silent Knight Sho (1992), Shadow Lady (1995), Sword Breaker (2002) and Kirara (1986). Upfront major promotion on some titles because of their author's past success can delay a cancellation even if it's still ultimately cut short like Samurai 8.As a general rule, the series on the cover is given one or more fully-colored pages of the chapter along with a color spread at the beginning of the magazine. A few other series are then given a color cover page each issue (often to promote something, like their newest collection, their boost in popularity, an anniversary or an anime adaptation). However, sometimes the cover is taken by a series that doesn't even get a color page or can even be at the very back of the magazine. Pyu to Fuku! Jaguar debuted at the back of the magazine in 2000 (getting color pages but not the cover) and proceeded to be one of the only serials to remain in the magazine through the entire decade.Historically Common Color Scheme (Obora Ichidai, 1974) vs. Fully-Colored Page (Tenchi wo Kurau, 1983)The actual amount and type of color pages differs by era. In the first issue of Jump and many early issues, only the first series in the issue got color pages but how many color pages varied. Full-color chapters were not uncommon. In some early issues from this era, no series got a color page at all. These early color pages are noticeably different from modern ones as in collections there is no indication the chapters were ever colored (whereas modern color pages are grayscaled when collected) and the paper quality was not as good as modern color pages so the colors could potentially end up more faded. In the early 70's Jump then introduced a type of color page common in other manga magazines which used less colors in the ink. These were grayscaled in collections but in the magazine they were the most commonly used color-type when publishing fully-colored chapters. Some issues of the magazine would have four series fully-colored in this style though the lead color was now usually colored like the higher-quality color pages of the modern magazine.Sometimes a chapter would change coloring halfway, either from the ink with more colors to the one with less or from the ink with less colors to no colors at all. Dr. Slump's final chapter is a notable example of the latter. The 80's saw the introduction of chapters being once again fully-colored (but now with much higher quality paper and colors) and Tenchi wo Kurau's first chapter became one of the only manga to receive this treatment before it had become one of the most popular titles in the magazines. Other manga would receive fully-colored chapters, generally at the height of their popularity, like Slam Dunk but into the 90's the bulk of color pages remained the type with less ink and chapters were less likely to have all pages colored. Up until this era, most chapters with color pages were at the front of the magazine, this reflected a change in ink-quality and paper quality that would normally happen in the middle section of the magazine (works in the middle of the magazine could be much worse ink quality and color than those in the back).In the late 90's color pages made their final major shift to become their modern version. Color pages were now spread out through the magazine rather than all bunched up at the front, most series only got a colored cover page and not the pages of the chapter itself colored and the lower-quality color pages with less ink were mostly phased out. This change happened gradually with Takeshi (1997-33) and One Piece (1997-34) getting half-colored first chapter, Meiryotei's first chapter receiving no extra color pages (1997-52), Grow receiving a couple extra ones (1998-01), Rookies (1998-10) and Hunter × Hunter (1998-14) being half-colored and Shaman King (1998-31) receiving no extra color pages. By the 00's color pages were of the modern style barring rare exceptions like Jaguar and while fully-colored chapters were still published from time to time with really popular series (like Tennis no Oji-sama, Kuroko no Basuke or Bleach), they were much rarer.Most popular series generally drop off in popularity partway through their run and by the time they end, they are no longer significantly promoted in the magazine and historically many classic manga in fact ended quite unceremoniously in the back of the magazine. It was during the shift in how color pages were formatted in the late 90's that the practice of giving a color page to the final chapter of a series in the middle of the magazine really took hold, early examples included Dragon Quest: Dai no Daiboken (1996), Rokudenashi Blues (1997), Jigoku Sensei Nube (1999), Rurouni Kenshin (1999), I\"s (2000) and Hoshin Engi (2000). Final chapters of a series are generally only given a color page if they were quite popular at some point in their run, but one of the rarest honors given to a series is a fully-colored final chapter.Full-Color KochikameThis honor is reserved for the final chapter of some of the magazine's biggest series that often helped the magazine rise in popularity, in several cases, their end has led to the magazine having a steep drop off in readership. To date, only six have gotten the honor: Ring ni Kakero (1977-1981), Dragon Ball (1984-1995), Slam Dunk (1990-1996), Pyu to Fuku! Jaguar (2000-2010), Naruto (1999-2014) and Kochikame (1976-2016). Notably, the issue featuring the end of Kochikame was the first time the magazine ever reprinted an issue and rather than coloring the final chapter itself, it included a full-color reprint of the first chapter of the series instead. For comparison, Naruto and Kochikame were the only examples of these six to fully-color their chapters with the modern coloring and both of them actually included an uncolored chapter earlier in the magazine that had the lead color page and cover spread. Ring ni Kakero, Dragon Ball and Slam Dunk all used the color pages with less inks for most pages but were given the lead color. Jaguar used the latter-style of color pages for all of its chapter and appeared at the back of the magazine. An even rarer honor is receiving the cover for a final chapter but there is nothing in common with the three examples of it and the first two were possibly unintentional: Yamazaki Ginjiro (1980-1981) received the cover but no color page; Slam Dunk (1990-1996) received the cover, lead color and a fully-colored chapter but it was not advertised as a final chapter and the chapter itself only said it was the end of Part 1; and Kochikame (1976-2016) received the cover, a fully-colored chapter and the issue itself dedicated to it with easter eggs to celebrate ending on its 40th anniversary with its 200th tankobon being released.Indexing SerializationsFor the purposes of indexing it is important to note that for many highly popular series (particularly from the beginning of the magazine into the 80's), what were considered chapters then are not necessarily what have been established as chapters now. It is quite common for these older series to bundle multiple chapters together, to edit out chapters or pages or even reorder chapters in a collection (particularly with gag manga where chronology isn't as important).Dokonjo Gaeru (Chapters Reordered); Cobra (Chapters Combined)This is partly due to the fact that at the time, many serializations didn't officially number their chapters and would have episodic chapters amidst an ongoing storyline. So while it is much easier to reference a particular chapter of a long-running modern series where each chapter flows into the next, with a series like Kochikame the title is referenced instead or in the case of other classics like Ring ni Kakero or Cobra, the chapters have not been preserved at all in their original form. For example, the first tankobon of Cobra only listed one chapter over a hundred and fifty pages long but in the magazine, chapters were twenty to thirty pages.In some cases the author has just chosen to streamline the work to make it flow better as an uninterrupted story as opposed to a serialization and in the editing, original chapters can be lost. For this reason, many sites will claim a series has far less chapters than it actually did have. Most sources will claim the original Saint Seiya had only 110 chapters, which would have meant it lasted only a little over two years in the actual magazine, but in reality, nearly two years before the series had even ended it was already celebrating 150 chapters (see: #1038).Other notable series like Dr. Slump and Kinnikuman have been given fan-made chapter numbers that are accepted by most English-language sources as fact despite not being in any way official, not in publication order or multiple chapters bundled together.Though most major series can be approximated and series after the 90's generally avoid these problems, if you are looking for a specific chapter, there are some things to note.Ring ni Kakero (Chapter Covers Removed); City Hunter (Chapter Covers Swapped Around)Reordered or Omitted Chapters: In gag manga, reordering was fairly common with this happening in plenty of early classics like Toilet Hakase, Kochikame or Dr. Slump. Due to the episodic nature of these manga, they are also more likely to simply omit chapters from their collections, usually controversial ones but not always. Kochikame and Moeru!! Onii-san are examples of chapters being omitted to avoid controversy.Combined Chapters: In many story manga, the serialized chapters would end on cliffhangers that didn't necessarily work as cliffhangers when in collected form and it was common for series to bundle together chapters that flow directly into one another. This is why gag manga tended to actually keep most of their chapters with some rearranging while story manga would require more streamlining. Examples of this include Obora Ichidai, the works of Masami Kurumada, Astro Kyudan, Koya no Shonen Isamu, Cobra, Captain Tsubasa, City Hunter (episodic chapters were often kept separate but larger arcs combined).Chapter Covers Removed or Swapped Around: As part of this general streamlining process, one of the biggest things that was often lost from story manga and even many gag were chapter covers. As a general rule, each chapter of every series had its own unique cover. But in most collections of many classic manga, those covers are missing or have been repurposed (like using color pages from the magazine as tankobon covers for the collection). While sometimes covers are removed because two chapters are being combined together, even in a manga that does keep all their chapters labeled there can be a significant removal of chapter covers to avoid interrupting major story arcs (Rokudenashi Blues is a rare 90's example of this). Even when some covers were kept as in popular series like City Hunter or Hokuto no Ken, they could have their placement completely rearranged so a cover corresponds with two completely different chapters between the magazine and the tankobon. Or, what were originally covers become bonus extras in the volumes (series like Saint Seiya or Dai no Daiboken using chapter covers to show character profiles). Masakazu Katsura began a stylistic trend with his manga to remove chapter covers and instead have blank pages with the title on them in the collections and then a curated selection of the magazine chapter covers would appear in the back (such as in Denei Shojo or I\"s). Other authors in the 90's would also include galleries of chapter covers that had been removed from their original placement for streamlining purposes (like Masaya Tokuhiro and Yoichi Takahashi).Rokudenashi Blues (Chapter Numbers Removed from Titles); Jojo no Kimyo na Boken (Ads Removed)Chapter Titles Changed: Though generally any chapter titles that are used in the collections did originally appear in the magazine version (even if they applied to a smaller section), there are popular manga like Jojo no Kimyo na Boken or Bleach that made significant changes to chapter titles from the magazine to the volume. Another similar change that occurred with manga was the removal of chapter numbers. In the magazine, Rokudenashi Blues and Dai no Daiboken chapters were numbered but they were not in the collections. Because it combined numerous chapters in its later years, Tar-chan had a much higher official chapter number for its last chapter when it ended in the magazine than it did in its collections.Censorship/Alterations/Ads: Part of the work authors put into their collections is to fix errors that were caught in the serialized version or to improve things. This is often as simple as altering the text in a chapter slightly or fixing something that was drawn wrong but it can be much more dramatic including censorship of particularly controversial panels. Some chapters when published in the magazine form are very rough sketches for certain pages that are then completed in the collections and some things are deliberately censored in the magazine that are then added in for the tanks. Since the late 90's it is usually the censoring of nipples which previously had been fairly common in Jump. Major series to fall under these categories include Hunter × Hunter, To Love-Ru, Bastard!!, World Trigger, Yuragi-So no Yuna-san and Boku no Hero Academia. Another example of necessary alterations that only affect manga from the 90's and earlier was that ads used to appear directly on a varying amount of manga chapter pages in each magazine issue. These ads could be for various things but the way different authors dealt with them in their collections was not uniform. Some authors simply leave these spaces as massive blank sections of the page, some insert messages from the author and others just insert filler panels that were not originally in the chapter.Crossovers: Because many Jump manga referenced one another over the decades, characters associated with one series may appear in a series other than their own. Examples: Appule in Kochikame, Higegojira in Chichi no Tamashii, Gatchan in Yamazaki Ginjiro, Delorinman in Harenchi Gakuen, etc.Unique Elements of JumpArnold and Taro YamadaJump is unique in a number of ways from its primary competitors and contemporaries, with one of the notable aspects of its decades-long run being the covers. Many manga magazines since the 80's and 90's have used photo covers (primarily of gravure idols) to entice a secondary audience to the magazine but Shonen Jump is extremely rare for its length and demographic for almost exclusively using illustrated covers featuring the actual manga contained within. Even more specifically, the very rare exceptions have not been idols but people like Ayrton Senna, Arnold Schwarzenegger or the authors of the manga themselves. Also, despite launching when alternative manga was becoming mainstream, Jump did not have a period of using alternative covers like Magazine and Sunday were doing in the late 60's and early 70's.Jump is also fairly unique in that it features most of its new series on the cover for their first chapter, at least since the 80's, though there have been a number of very notable exceptions to this. Most magazines wait for series' to get popular before giving them the cover if their manga are even given the cover in the first place.Serials run in Weekly Shonen Jump are not strictly bound to any set genre or style parameters, though the magazine has a tendency to directly inspire its future creators (many of whom were assistants to Jump mangaka before debuting with their own serials). Perhaps due to its competitive nature in trying to remain popular, many of the pillars of Jump have very similar tropes and themes. This usually works with one series becoming popular and later or contemporary series adopting aspects of it into their own manga. This can range from references and cameos, to explicit tributes or many other stylistic things that are often seen as part of the formula of a successful shonen manga.The most all-encompassing genres generally published in Jump are sports manga, battle manga and gag manga; though these limits are regularly pushed to include non-traditional sports, new battle systems or more bizarre gags. However, one of the biggest things that makes Jump manga easily identifiable is the self-referential nature of many series. It is very common for a series to at some point feature somebody reading or talking about Jump with a number of them going a step further and having it be a plot point in an otherwise serious story (gag manga are especially prone to referencing Jump and breaking the fourth wall). While for each individual series this is generally a minor detail, for readers of the magazine it is an easter egg which becomes infinitely more obscure when collected, as the reference can be to a decades-old contemporary that never became popular or that readers may not even realize ran in the magazine at the same time.Cover of WSJ #1135References range from every serial in an issue featuring a cameo of Kankichi Ryotsu or Luffy's straw hat, to a series directly about making a Jump manga (Bakuman.), mangaka and their editors appearing in the serials themselves (Dr. Mashirito, Shimabu, Hideaki Amachi, Masakazu Katsura), two serials crossing over (Sket Dance × Gintama or Toriko × One Piece or Toilet Hakase × Onna Darake), chapter covers being special tributes to beloved serials that ended in that specific issue (One Piece chapter covers for the final chapters of Naruto, Kochikame, Toriko) to a vast variety of major characters reading the magazine; sometimes in very dramatic ways such as Maeda Taison surviving being stabbed in the gut because he had a recently published issue in his jacket to Jotaro Kujo introducing Star Platinum and the concept of Stands by having it get him the latest Jump while he was stuck in a jail cell.There are also many reader-submitted elements of the Jump magazine that can massively impact a series such as fan-submitted character or creature designs (Kinnikuman, Bobobobo, Toriko) which are adapted by the author to varying degrees to fit into their story. There are also popularity polls that can directly impact the direction of a series based on which characters the author learns are most popular with readers. The magazine also has more direct references between the creators of the manga themselves with author comments being included in the table of contents for each issue. These comments can include messages of support for the debut of their assistants, tributes to authors that have ended their series/passed away or even authors taking jabs at each other over drama between their series (as happened between the authors of Makuhari and Kusagiki).ControversiesWhile Jump has experienced general controversy in its long lifetime like most popular media, it is generally not significant and revolves around questions of content being age-appropriate or influencing kids negatively. There have also been cases of people getting arrested for posting early spoilers of the magazine online. However, in a select few cases, controversy has directly influenced a series and even more rarely, resulted in cancellation regardless of how popular the series is.Harenchi Gakuen: As one of Jump's very first hits, Harenchi Gakuen was designed to be controversial and used this controversy to help boost public awareness of the magazine. One of the first ecchi manga, it was scandalous for its time but tame by modern standards (and much less explicit in comparison to later Jump serials). As it was a gag manga, the provocative situations were treated very light-heartedly but proved influential to young boys who would emulate the perverted actions of the characters (such as lifting up girl's skirts in schools). The series caused a lot of public outrage in Japan but the magazine notably was proud to publish it and defended the work. Though it did end once in a dramatic fashion, it returned a few months later and was ultimately serialized non-continously for four years.Shiritsu Kiwamemichi Kōkō: The debut serial of Akira Miyashita (who would go on to be one of the defining creators of Jump's Golden Age). Though the series was popular, backlash came when an offhand claim by a character that he violently conquered several schools displayed five actual school names and information without their permission (snuck in by an assistant) and all the schools protested this slip-up. The series was quickly cancelled and never properly preserved or collected so that it was never even reprinted for over thirty years (despite the author becoming a huge success just a few years later). When it was finally collected in full, scans of the magazine issues themselves had to be used and the controversial panels were censored.Moeru! Oniisan: A popular gag manga, one chapter proved controversial due to its unflattering depiction of a school janitor and the offending chapter was not collected. In the magazine the series then changed its name to Moeru! Oniisan 2 (but this was not replicated in the volumes).Makuhari: A controversial first series by an author who would become famous for being controversial, this was a major early example of a Jump gag manga that heavily referenced its own contemporaries and real-life celebrities and wasn't always well-received. One chapter featuring a real-life celebrity making a joke at the start was censored in collections to remove this part though most of the series' craziness was left intact.Seikimatsu Leader-den Takeshi!: A popular gag/battle manga that began in 1997, it was very popular for a time but after five years and while in the middle of the battle between the final boss, the author (Shimabakuro) was arrested for paying a sixteen-year-old for sex and the series was abruptly cancelled, the final chapters not collected and the original collections went out of print. A couple years later, the final chapters were published in Super Jump and larger editions of the series were published that collected everything. In 2008, Shimabu was able to return to Shonen Jump with Toriko (which ran for eight years). If he had not been arrested, Toriko likely would have started in 2003 as it's original pilot appeared in Jump in 2002, when Takeshi was heading toward its natural conclusion.Kuroko no Basuke: While not cancelled, Kuroko no Basuke was the subject of a significant controversy when its anime started and the series became highly popular in the dōjinshi scene (particularly with yaoi dōjinshi) which meant that a mostly female audience had latched on to the male cast of characters and began writing and sharing their own fan works featuring male cast members as a romantic couple. Historically, this had been a large part of Jump's audience since the 1980's with a Captain Tsubasa dōjinshi being reworked to create Zetsuai 1989, one of the most important early yaoi manga. However, various places connected to Kuroko including the author, the station that broadcast the anime and places that sold the dōjinshi and other items related to the series were sent threatening letters containing a suspicious powder or liquid and this led to a ban of any Kuroko material to be sold at various dōjinshi events. The 36-year old suspect was caught and arrested on December 15, 2013. On March 29, 2015 a special dōjinshi event dedicated to Kuroko was held in response to the previous ban. Kuroko never missed an issue during its run and remained popular to the end, even getting the cover the issue before its final chapter in 2014.Act-Age: A manga that had started slowly and begun to build momentum over its first years, it was on the verge of receiving multiple adaptations and already receiving an abundance of cross-promotional material when its writer was arrested for groping a teenage girl on the street. It was abruptly cancelled in the middle of an arc and disowned by the artist who has since appeared in Jump again. Due to this happening in the digital era, not only were its physical collections discontinued (causing a spike in sales) but its digital volumes were also removed from online stores.Jump MangakaNo. 9, 1970 (Magazine, Champion, Sunday, King and Jump)In the era when Jump launched, it was actually the fourth major Weekly Shonen (as King existed), and when Champion followed a year later it was part of a large network of five magazines which often fought for dominance and it was never completely definitive which was the most popular of this period. As part of the trend of this time, it was extremely common for mangaka to appear in multiple weekly shonen magazines and several appeared in all five (sometimes simultaneously). As such, Jump's earliest years are filled with creators who came from or are most associated with other weekly shonen magazines but often had a much more minor role in Jump. Below are the most significant examples (including all the creators from the first issue minus the reprinted comic strip and the one complete unknown creator who is not known to have done anything else).Go Nagai (Jump Debut: No. 1, 1968): Creator of one of Jump's first major hits, Harenchi Gakuen, it appeared in one-shot form in the magazine's first issue but only debuted as a serial a few months later. It was an instant hit for its boundary-pushing controversy and made Nagai into a household name. Though it was his debut serial and ran for a few years (with breaks in between), Nagai quickly became too big for just Jump and migrated to many other magazines. While Harenchi Gakuen remained one of his longest continuous serials, the ones that spawned the largest franchises were in other shonen magazines and hits published simultaneously with his Jump work appeared in Magazine, Sunday, Champion and others. His second and last Jump serial was Mazinger Z which ended up leaving Jump for other magazines before its end as Nagai was already at the peak of his popularity. Notably, he did still publish for Monthly Shonen Jump after leaving Weekly.Hiroshi Kaizuka (Jump Debut: No. 1, 1968): Creator of Chichi no Tamashii, which was the longest serial to debut in Jump's first issue, he had previously had serials in King, Sunday and other magazines. He also had one of the few serials to debut in the first issue of Champion (while he was working on Chichi). However, despite his series lasting until the end of 1971, he never returned to Weekly Shonen Jump and left to draw an even longer work at Sunday (written by Ikki Kajiwara). Though he did serialize a final arc to Chichi in Monthly Shonen Jump, his longest-lasting legacy in Weekly was having the protagonist of one of Jump's longest-running early series, Dokonjō Gaeru, named after him (as its creator had been his assistant).Sachio Umemoto (Jump Debut: No. 1, 1968): Creator of the series that received half of the first issue's cover, Kujira Daigo, he did several very short serials for Jump in the beginning but many were uncollected and he left to do longer works in magazines like Sunday, Champion and King.Fujio Akatsuka (Jump Debut: No. 1, 1968): One of the biggest gag manga creators of all-time, his major serials like Tensai Bakabon and Osomatsu-kun primarily ran in Magazine and Sunday, where he had been working since the early 60's and his primary Jump serial was only the very brief Ore wa Gebatetsu!. Jump's publisher, Shueisha, were the creators of the Akatsuka Award to honor new creators in comedy manga and Akatsuka's asssistant Kazuyoshi Torii created one of the most popular Jump manga of the 70's with Toilet Hakase.Mikiya Mochizuki (Jump Debut: No. 1, 1968): While he published a few very short serials in Shonen Jump in the 70's such as Totsugeki Ramen, Japasshu and The Kicker; in King he was simultaneously publishing Wild 7 which ran from 1969-1979 and is one of the biggest series' in its publisher's history. He had been a regular in King since its start in 1963 and remained there into the mid-80's while simultaneously producing work in many other magazines. In Jump, his assistant Ko Inoue drew the popular baseball manga, Samurai Giants.Kazuo Umezu (Jump Debut: No. 1, 1968): While he appeared in Jump's first issue, he never had a serial for them and instead is most associated with Sunday (Orochi, Again, Hyōryū Kyōshitsu, Makoto-chan) and later seinen horror manga.Keiji Nakazawa (Jump Debut: No. 2, 1968): Important creator of autobiographical manga who was one of the first to have his translated work published in English. He had previously had serials in magazines like King and while Jump was one of the primary magazines that helped publish his career-defining work, including debuting his best-known serial (Hadashi no Gen), it didn't prove to be the best home for his style and Hadashi no Gen had to be completed with other publishers.Toshio Shoji (Jump Debut: No. 3, 1968): He wrote one of Jump's first collected serials, the short Ore wa Kamikaze, but had already established himself with long-running series for other shonen publishers like Yūyake Banchō and quickly left Jump to do other work, including a 37-volume series for King (Cycle Yarō).Ryoichi Ikegami (Jump Debut: No. 5, 1968): Still establishing himself in the mainstream at the time, Ikegami produced a few one-shots for Jump as well as the short Kasane serial. His first series had been in King and much of his early one-shots were in the alternative Monthly Manga Garo but before his move to seinen in later decades he found his biggest success in shonen with Weekly Shonen Sunday.Noboru Kawasaki (Jump Debut: No. 6, 1968): The artist of Magazine's Kyojin no Hoshi which was one of the most popular shonen manga of the time and started serializing in 1966. He was the artist for several short Jump serials with the only long-running one being Kōya no Shōnen Isamu which ran for several years in the early 70's and was one of the big Jump series of that era. Though highly popular with Jump itself, his later long-running serials were once again for other magazines like Musashi in Sunday.Ikki Kajiwara (Jump Debut: No. 10, 1968): The writer of Magazine's Kyojin no Hoshi (see Noboru) and simultaneously the Magazine serial, Ashita no Joe (which started serializing in 1967 in the same magazine). He was already writing two of the biggest manga hits of the era and in Jump debuted with a very short-story drawn by Noboru (Otoko no Jōken). His only long-running serial in Jump was writing Samurai Giants (which launched alongside Noboru's Isamu and ran for a few months more), though it has been historically overshadowed by his mega-hits with Magazine and the many other magazines he was published in.Shotaro Ishimori (Jump Debut: No. 11, 1968): One of the most active mangaka of all-time, he appeared all over manga for decades in shojo, shonen and seinen but his only appearance in Jump was a single one-shot. He had multiple serials in all of the other four weekly shonen magazines.George Akiyama (Jump Debut: No. 6, 1969): One of those creators who immediately went for exposure at as many magazines as possible, he had serials in all five of the weekly shonen publications. While he had several short serials in Jump from 1969-1974 such as Bara no Sakamichi, Kurohige Tanteichō or Hai ni Naru Shōnen (with a final one for a few weeks in 1984), his longest or most controversial were often running simultaneously in Magazine or Sunday and after this hugely productive but brief period of shonen serials, he moved to seinen manga. His Haguregumo series, started in 1973 and ended in 2017 with 112 volumes, remains one of the longest continuous manga of all time.Hiroshi Asuna (Jump Debut: No. 7, 1969): A regular author in shonen and shojo manga, he didn't typically produce very long works but had a handful of short serials and one-shots in Jump. His most enduring shonen series ran in Weekly Shonen Champion.Leiji Matsumoto (Jump Debut: No. 9, 1969): A creator who was already really active in shonen (primarily through Magazine) and seinen manga, he later became well-known for his science fiction works. While he had a short serial in Jump, it was really building off a story he had started earlier in Shonen Book. He briefly returned a decade later (when he was one of the major authors in King) to submit two one-shots in the annual competition where readers voted for which creators they wanted to see a one-shot from the most (these one-shots tied into his then-established science fiction universe).Shintaro Miyawaki (Jump Debut: No. 14, 1969): His only contribution to Jump was a three-part serial about Che Guevara but he later went on to draw the infamous and long-running seinen manga The Rapeman.Fujiko Fujio (Jump Debut: No. 15, 1969): At the time a jointly-credited major pen-name in manga that later split their works into who did what when they dissolved their partnership. Only one of them appeared in Jump but he did five one-shots, as a duo they appeared nearly everywhere and Abiko in particular (who appeared in Jump) had major success in King, Champion, Magazine and Sunday.Tetsuya Chiba (Jump Debut: No. 20, 1969): Artist of Magazine's Ashita no Joe (see Ikki Kajiwara) and Harris no Kaze before that, he was already a well-established major figure in shojo and shonen manga but for Jump his only serial was the eleven-chapter Mosa (he continued producing many-long works for Magazine and other magazines). His younger brother and former assistant Akio Chiba made his major break-through with Bessatsu Shonen Jump (later known as Monthly Shonen Jump) and created the very popular Play Ball manga for Weekly Shonen Jump in the mid-70's.Shinji Mizushima (Jump Debut: No. 2-3, 1970): One of the most prolific mangaka of all time, he had serializations in all five weekly shonen magazines within a few months of each other. He would go on to have several serials in all the other four magazines (often simultaneously) including highly popular series that lasted for years in Champion, Sunday and Magazine. But his only Jump serial was Geppare! Ōta-Tōshu which lasted for ten issues and was never even collected and is debatably even his work (advertised as his on covers but within the issue itself also crediting his assistants whose work it more closely resembles). He was unable to enter the annual one-shot contest despite being voted for by readers.Shigeru Mizuki (Jump Debut: No. 14, 1970): Creator of the highly beloved GeGeGe no Kitarō series, which actually had its origins in underground manga but had been picked up by Magazine in 1965, his only Jump work was the short, Sennen Ōkoku, and he is much better remembered for many other works though Sennen is usually re-released as a subtitle for one part of his Akuma-kun series. He appeared in many of the shonen and seinen magazines of his time.Takumi Nagayasu (Jump Debut: No. 44, 1970): Nagayasu had one short series for Jump in 1971 that was never collected but he also worked in Champion and Sunday with his biggest shonen series running in Magazine. He later had a successful career in seinen manga, particularly for Weekly Young Magazine.Shiro Kasama (Jump Debut: No. 47, 1970): A popular early erotic manga artist, he was more associated with early seinen magazines like Manga Action but drew an uncollected serial for Jump in late 1970.Toru Shinohara (Jump Debut: No. 48, 1970): More famous for his seinen manga (like Wani Bunsho and Sasori), which he was actively working on at the time of his Jump serials, he had two short works published in Jump but they never have been collected.Osamu Tezuka (Jump Debut: No. 13, 1971): One of the most revered and prolific manga creators of all time, he appeared in virtually every major (and many minor) manga magazine of his lifetime. He had multiple serials in Magazine, Sunday, King and most notably Champion (where he serialized Black Jack, one of his longest continuous works as well as various other works beginning with its very first issue). Yet his only serial in Jump (Lion Books) was not actually a serial at all but a monthly series of one-shots. The longest one was published in four parts and collected as a single tankobon (Hyaku Monogatari), one chapter has never been collected. Jump's publisher, Shueisha, were the creators of the Tezuka Award to honor new creators in story manga. Tezuka also had two assistants contribute regularly to Jump, the first (Kotaro Komuro) very much resembled his art-style and was active in Jump through the 70's, the second was Buichi Terasawa who produced the popular Cobra series.Baron Yoshimoto (Jump Debut: No. 21, 1971): Another mangaka normally associated more with early seinen manga magazines like Manga Action, he produced two short series for Weekly Shonen Jump which were first collected in the 70's but not by Shueisha.Besides Shinji Mizushima who may not have truly appeared but almost did, there were a number of other notable absences of authors who were active in all the other magazines or almost appeared in Jump like Mitsuru Adachi (who was nominated to appear in the annual readers one-shot contest), Sanpei Shirato (whose assistant did appear), Takao Saito (a major contributor to Magazine, Champion and Sunday), Kazuo Koike (who wrote for most shonen and seinen magazines of the time), Mitsuteru Yokoyama (who had popular series in all the other four) and Monkey Punch (who had a very similar but mysterious look-alike in Bancho Kano who created a very Lupin-esque series called Nusutto that was popular enough at the time to get the author on the cover of Jump but not collected and the author became an obscurity).Mankichi TogawaOf all these highly notable mangaka to appear in Jump's early era (which had little indication of what the magazine became), the first and primary creator to generally stick with Jump and help define the magazine was Hiroshi Motomiya who debuted in No. 4, 1968 and began his first Jump serial (Otoko Ippiki Gaki-Daishō) in No. 11 of the same year. The series proved to be such a massive hit that Motomiya was actually forced to extend it beyond his intended ending.The series ended in a fashion three different times, the first major ending in 1971-13 was the author's intended ending and the one that he preserved in later collections when he had more sway in the industry. The series got the cover of this issue but editorial advertised the series as returning a few issues later and it did so in 1971-17. The second major ending was in 1971-51, again the series received the cover but the opening pages of the magazine (which would normally be a lead color) was a celebration of Motomiya's marriage to shojo mangaka Jun Morita and included photos of major Jump authors in attendance. This time the series advertised his return for the following year with his second series, Musashi. But while Musashi was still ongoing, Otoko Ippiki released three bangaihen chapters and these became the focus of Motomiya's presence in the magazine and Musashi was ended early a few months later. Otoko then returned for one final stretch before it ended its run permanently in early 1973 and Motomiya began regularly returning with new shorter series instead through the 70's and 80's. A two-part epilogue to Otoko Ippiki was also published in Jump in 1983 and it regularly returned to the cover for anniversary celebrations.While this tactic of editorial meddling forcefully extending a series against its author's wishes is highly questionable, the series did influence and inspire many young mangaka who would come to work for Jump and Motomiya was ultimately able to serialize many other shorter works in the magazine's history (appearing in over 630 of the magazine's first 950 issues) and only left in 1987 to focus on seinen manga. Motomiya kept his association with Shueisha where he has become one of the publisher's most published authors by a significant margin with his 90's hit Salaryman Kintaro being his longest and best-selling series. While he did use his success at Jump to appear in many other magazines through the 70's and 80's including the other major weekly shonen magazines, unlike the authors listed above, he did not leave Jump during this time and remained a fixture of the magazine.Hiroshi Motomiya in Jump's offices as depicted in Shinji Hiramatsu's Gedoh-ManWhile working in Weekly Shonen Jump he had one of the first major series of the spin-off Monthly Shonen Jump, his works were among the first published in many new Shueisha collection formats/brands (Playboy Comics in 1977, Jump Super Comics in 1976, Young Jump Comics in 1980) and he was among the most prominent creators in the first issue of several seinen magazines (Weekly Young Jump, Big Comic Spirits, Morning, Manga Allman and Grand Jump). Otoko Ippiki not only launched the Jump Comics brand in 1969 but reprint editions helped launch the Shueisha Manga Bunko brand in 1976 and the Shueisha Bunko brand in 1995.It is the protagonist of Otoko (Mankichi Togawa) that represents the first true major Jump hero and it is the creators inspired by it and who worked as assistants for Motomiya that became the first generation of Jump-defined creators, kicking off the modern Jump lineage. It is in this period that Jump began to fully define itself in the 70's and that it created the system of talent for which it is generally known for, with the majority of its creators after this being rookies who made their debut with Jump and often people who worked as assistants on Jump manga before debuting with their own.Motomiya himself had many major assistants and at least two legendary authors serialized tributes to Otoko Ippiki in Jump after they became successful (though neither of these manga lasted). Several of Jump's biggest creators were originally assistants for other major creators before them and even creators who were never assistants have talked about how they were inspired or influenced by their predecessors and contemporaries in Jump (example: Masashi Kishimoto being influenced by Ninku but not working as a Jump assistant). Or on the other end of the spectrum, some mangaka who were not assistants have had their assistants attempt Jump serials, and there are many examples of short serials in Jump's history by creators who were Jump assistants (example: Osamu Akimoto was not an assistant of a Jump author but his assistants Hiroshi Aro and Masatoshi Usune had Jump serials).Though a complete and exhaustive list would become excessive, these are the authors in Jump with more than 300 appearances (listed in order of most appearances) and a listing of who they were an assistant for or who was their assistant that also appeared in Jump:Osamu Akimoto: assistants included Hiroshi Aro, Masatoshi Usune and Chinatsu TomisawaEiichiro Oda: assistant to Masaya Tokuhiro, Nobuhiro Watsuki, Shinobu Kaitani and ManGataro...assistants included Katsunori Matsui, Tatsuma Ejiri, Haruto Ikezawa, Ryo Ishiyama and Yusaku ShibataAkira Toriyama: assistants included Hisashi TanakaHirohiko Araki: assistants included Hirohisa Onikubo, Yasuki Tanaka, Hiroshi Shiibashi and Hideo ShinkaiMasashi Kishimoto: assistants included Mikio Ikemoto, Yuichi Itakura and Osamu KajisaHideaki Sorachi: assistants included Kenta Shinohara, Yoichi Amano and Tsunehiro DateYoichi Takahashi: assistant to Shinji Hiramatsu...assistants included Nobuhiro WatsukiMasanori Morita: assistant to Tetsuo Hara...assistants included Fumihiko Ota, Daimuro Kishi, Yasuteru Iwata, Nobuhisa Tsuruoka and Tatsunosuke SonodaMasami Kurumada: assistant to Hiroshi Motomiya and Ko Inoue...assistants included Jun TomizawaTakeshi Obata: assistant to Makoto Niwano...assistants included Nobuhiro Watsuki, Kentaro Yabuki, Yusuke Murata and Yoshiyuki NishiHiroshi Motomiya: assistants included Yoshihiro Takahashi, Buronson, Masami Kurumada, Tatsuya Egawa, Tatsuo Kanai, Keizo Maekawa and Tetsuya SaruwatariAkira Miyashita: assistant to Yoshihiro Takahashi...assistants included Shinji ImaizumiTsukasa Hojo: assistants included Takehiko Inoue, Haruto Umezawa and Yoshihiro YanagawaMasaya Tokuhiro: assistants included Eiichiro OdaKyosuke Usuta: assistant to Koji Inada...assistants included Kohei FujinoTetsuo Hara: assistant to Yoshihiro Takahashi...assistants included Masanori Morita, Koji Maki, Shingo Todate, Katsuhiro Nagasawa and Shinji ImaizumiYoshihiro Takahashi: assistant to Hiroshi Motomiya...assistants included Akira Miyashita and Tetsuo HaraShinji Hiramatsu: assistant to Norihiro Nakajima...assistants included Yoichi Takahashi, Tetsuya Saruwatari and Kazumata OguriBuronson: assistant to Hiroshi MotomiyaMasakazu Katsura: assistants included Yoshihiro Kuroiwa and Koji InadaHaruto Umezawa: assistant to Tsukasa Hojo...assistants included Nobuhiro WatsukiAkira Amano: assistants included Kenji Sakaki, Kaito and Sho AimotoMotoei Shinzawa: assistants included Tadashi SatoTakeshi Konomi: assistant to Hajime Kazu, Yuko Asami and Koji KiriyamaKentaro Yabuki: assistant to Takeshi Obata...assistants included Toru UchimizuYūsei Matsui: assistant to Yoshio Sawai...assistants included Kazuya YamamotoTakeshi Okano: assistants included Yuko Asami and Yuki HidakaNorihiro Nakajima: assistants included Shinji Hiramatsu, Kazuto Kurosaki and Motoka MurakamiNobuhiro Watsuki: assistant to Ryuji Tsugihara, Yoichi Takahashi, Takeshi Obata and Haruto Umezawa...assistants included Eiichiro Oda, Hiroyuki Takei, Shinya Suzuki, Shinga Gin and Mikio ItoMakoto Niwano: assistants included Takeshi Obata, Toru Uchimizu and Nobuhisa TsuruokaShuichi Aso: assistants included Masahiro HirakataKoji Inada: assistant to Masakazu Katsura, Masatoshi Usune and Yoshihiro Kuroiwa...assistants included Teruto Aruga and Kyosuke UsutaKohei Horikoshi: assistant to Yasuki Tanaka...assistants included Masaru Miyokawa and Yusaku ShibataYusuke Murata: assistants included Yoshiyuki Nishi, Yuichi Itakura, Yuki Nakashima, Yukinori Kawaguchi, Ryosuke Takeuchi, Masaru Miyokawa and Kohei FujinoTadatoshi Fujimaki: assistant to Tatsuma Ejiri...assistants included Kawada, Shota Sakaki, Ichiro Takahashi, Kazuki Kitashima and Kento TerasakaYasumi Yoshizawa: assistant to Hiroshi KaizukaKazuyoshi Torii: assistant to Fujio Akatsuka...assistants included Kimio YanagisawaShun Saeki: assistant to Tadahiro MiuraHiroyuki Takei: assistant to Nobuhiro Watsuki and Koji Kiriyama...assistants included Kei Kawano, Yusuke Takeyama, Katsunori Matsui and Yoichiro TanabeYoshio Sawai: assistants included Yusei MatsuiRyuhei Tamura: assistant to Toshiaki IwashiroYuki Tabata: assistant to Toshiaki Iwashiro...assistants included Masayoshi SatoshoFinal Mangaka Cover, 1997-05-06In the past, the authors of Jump would annually appear together in a group shot on the cover of the magazine (often dressed in themed costume), but as mangaka became more private about their personal appearance this trend totally stopped after the 90's with many successful mangaka in later Jump history being virtual unknowns as individuals. Traditionally mangaka included pictures of themselves in their own collections as was common internationally with authors of books as well but these too became less common in the 90's and were replaced by drawings. As a result fans often speculate on the identities of more popular private authors, such as debating whether they are male or female or even if they are actually secretively other published mangaka using a new pen-name. There are also several major examples of authors becoming close friends who debut in the magazine around the same time like Toriyama and Katsura, Shimabukuro and Oda, Kobayashi and Akimoto or Morohoshi and Hoshino. These annual events where authors meet one another have been mentioned as nerve-wracking or inspiring by young creators and occasionally have been depicted in manga.Historically Jump has been quite strict with authors putting out a new chapter each issue, creating an intense work schedule that has burned out many but they began greatly loosening up on this in the late 90's with some established authors being given more room to have absences. Many of Jump's most legendary authors are never able to make weekly series again with a few notable exceptions. Some of these authors are granted more leeway in Jump itself to return with short works or take many breaks (examples: Cowa! or Hunter x Hunter) but many move to other slower-paced magazines like biweeklies, monthlies or quarterlies while some stick to weeklies but don't actually put out material at a consistent weekly pace anymore (example: Real).One-Shots and Pilot ChaptersPilot Chapter of Video Girl, Published in the Seasonal SpecialApart from its earliest days before it had a proper stable of ongoing titles, Shonen Jump usually publishes less one-shots than other magazines and in many cases (either at the time or retroactively), these one-shots are done by creators who also worked on serials in the magazine. Often one-shots are either used to fill in an unexpected absence of a serial (in which case the one-shot tends to be by an unknown creator) or more often, the magazine features a series of one-shots as part of some event. These events usually range from five to ten one-shots. In a rare few cases, one-shots are even given the cover of the magazine.In earlier years, these events (Aidoku Shashō) featured creators who were already popular doing one-shots (all while still producing their main serial) but since 2004, the one-shots are usually part of the Gold Future Cup, an event wherein the winner can theoretically create a serial based off their one-shot (though there's really no set protocol to this, see that page for more details).With the majority of Jump serials having started as a one-shot that was reworked for the serial, most creators start off doing one-shots; though the majority of these are not published in the main Shonen Jump magazine but in its various spin-offs over the years. Weekly Shonen Jump has had many spin-offs over the years (with most of the \"Jump\" magazines being descended from it in some way or another), but its most direct spin-off has gone under many different incarnations.Beginning in 1969 as extra issues of the magazine, where creators like Akira Toriyama, Tsukasa Hojo, Hirohiko Araki or Tetsuo Hara would publish their earliest one-shots, in 1985 it became an official seasonal spin-off (see here), which would continue to publish one-shots by creators that would later make it big. It went through numerous name changes in later years including Akamaru Jump, Jump Next!, Jump Giga and Jump ×. The longest-running independent magazine that came out of Weekly Shonen was its monthly counterpart, originally known as Bessatsu Shonen Jump, it then lasted for decades as Monthly Shonen Jump and is now known as Jump SQ.Apart from many one-off issues or short-lived magazines, major Jump magazines have included:1970 Bessatsu Shonen Jump (one-shots, reprints and a few serials)1974 Monthly Shonen Jump (renaming of Bessatsu Shonen Jump with more serials rather than reprints)1979 Weekly Young Jump (seinen magazine that has featured many authors that first came from Weekly Shonen Jump)1982 Fresh Jump (had many one-shots of new authors but also its own series)1982 Business Jump (spin-off of Weekly Young Jump with its own series)1983 Hobby's Jump (prototype at a video-game oriented Jump magazine with one-shots and some limited series)1985 Weekly Shonen Jump Seasonal Special (mostly one-shots of new authors but always sold off the brand of bigger name authors from Jump who would also appear with one-shots, short serials or bonus material like posters)1985 Jump Original (spin-off of Monthly Shonen Jump with one-shots and its own limited series)1986 Super Jump (seinen spin-off of Weekly Shonen Jump that took on many of its authors to create new series)1990 V Jump (mixed-media magazine with a focus on magazines, it originally had very limited manga but has since expanded its manga content)1995 Ultra Jump (spin-off of Weekly Young Jump that features a number of its own series, they tend to be more niche than the other magazines)1997 Akamaru Jump (renaming of Seasonal Special)2007 Jump SQ (renaming of Monthly Shonen Jump)2010 Jump Next! (renaming of Akamaru Jump)2011 Grand Jump (a merging of seinen magazines Super Jump and Business Jump into a single magazine)2011 Saikyo Jump (joint spin-off of V Jump and Weekly Shonen Jump, it tends to feature franchises from these magazines aimed at an even younger audience)2011 Jump X (a spin-off of Weekly Young Jump with its own series)2016 Jump Giga (renaming of Jump Next!)Sequels and Spin-OffsAll these spin-off magazines are often separated from Weekly Shonen Jump by one major factor; while WSJ rarely runs sequel series even to its most successful franchises, many of these other magazines' longest-running series are sequels and specifically sequels to series from WSJ. Within Weekly Shonen Jump some series have ties to each other such as shared characters (like Hareluya and BØY) or universe (like Dr. Slump and Dragon Ball) but the only major sequels in the magazine's history were primarily renamed serials that never really ended with one flowing right into the next (though there were a few exceptions).Gokutora Ikka featuring the protagonists of Kiwamemechi KokoThe only major sequels to run in WSJ are:Play Ball (which ran concurrently with Captain, the series from Monthly Shonen Jump it spun out of)Yamazaki Ginjiro (a sequel to Motomiya's hit Koha Ginjiro from Monthly Shonen Jump which itself was based on a one-shot that was published Weekly Shonen Jump)Geki!! Gokutora Ikka (a sequel/spin-off that continued plot threads from the controversially cancelled Shiritsu Kiwamemechi Koko)High School! Kimengumi (a renaming of Sannen Kimengumi)Shin Jungle King Tar-chan (a renaming of Jungle King Tar-chan)Captain Tsubasa: World Youth (the first of many sequels to Captain Tsubasa, but only one in WSJ)Stone Ocean/Steel Ball Run (rebrandings of JoJo)Shinsetsu Bobobōbo Bōbobo (renaming of Bobobōbo Bōbobo)Boruto (sequel to Naruto that is even more unique for being a sequel not written or drawn by the creator of the original series, it was ultimately moved to V Jump where these sorts of spin-offs traditionally appear; given it had only ever been monthly even in WSJ, it's unclear why the exception was made at all)On the other hand, many Shueisha manga magazines (and even some magazines from other publishers) are in part held up by sequels or spin-offs from this magazine. Examples include:Ultra Jump No. 5, 2007: Ninku Second Stage - Etonin HenShueisha Magazines1966 Weekly Playboy (Taiyou no Makibaō, Modena no Ken, Kinnikuman Nisei)1974 Monthly Shonen Jump (Miracle Tonchinkan, Chichi no Tamashii: Pro-Yakyu Hen, Ore no Round)1979 Weekly Young Jump (Captain Tsubasa: Road to 2002, Captain Tsubasa: Golden-23, Tōdai Kaishingeki, Beshari Gurashi, I-Chome no Sunami-chan, Battle Blue, Hoshin Engi Gaiden)1982 Business Jump (Chinyūki 2: Yume no Inzei Seikatsu-Hen)1983 Fresh Jump (Tatakae!! Ramenman)1985 Weekly Shonen Jump Seasonal Special (Bastard!!)1986 Super Jump (Ring ni Kakero 2, Akatsuki!!, Cobra, Murder License Kiba & Black Angels, Reibaishi Izuna, Seikimatsu Leader-Den Takeshi)1988 Bears Club (Yokai Hunter)1990 V Jump (Dragon Ball Super, Yu-Gi-Oh! GX, The Brief Return of Dr. Slump, Dragon Quest: Dai no Daiboken)1995 Ultra Jump (Ninku: Second Stage, JoJolion, Jumbor)1995 Manga Allman (Libero no Takeda)2001 BJ Kon (The Momotaroh Part 2)2007 Jump SQ (To Love-Ru: Darkness, The New Prince of Tennis, Rurouni Kenshin: Hokkaido Hen, World Trigger, D.Gray-man)2010 Jump Next! (Beelzebub Bangaihen, Kuroko no Basuke: Extra Game, Nurarihyon no Mago)2011 Grand Jump (Captain Tsubasa: Rising Sun, Jigoku Sensei Nūbē Neo)2011 Jump X (Shaman King: Flowers)2011 Saikyo Jump (Gourmet Gakuen Toriko, One Piece Party, Korosense-Q!, Rock Lee no Seishun Full Power Ninden, Jigoku Sensei Nube S)Weekly Comic Bunch No. 36-37, 2010: Soten no Ken and Angel Heart Digital ServicesShupure News (Kinnikuman, Otokozaka, Taiyo no Makibao W)Shonen Jump+ (Muhyo to Roji: Mazoku Magushi-Hen, Shokugeki no Soma L'etoile, Magical Patissiere Kosaki-chan, iShojo+, Vigilante: Boku no Hero Academia Illegals)Ura Sunday (Whistle! W)Magazines from Other Publishers1969 Weekly Shonen Champion (Saint Seiya: Next Dimension)1971 Weekly Manga Goraku (Ginga Densetsu Weed, Goku!! Otokojuku, Shin Doberman Deka, Majima, Bazeru!!, Kami-sama wa Southpaw Diamond, Shiritsu Kiwamemechi Koko 2011)1990 Young Comic (Bomber Girl Crush)1991 Monthly Shonen Gangan (Flash! Kimengumi)1998 Comic Ran (Oedo Black Angels)2001 Weekly Comic Bunch (Sōten no Ken, Angel Heart, Kabushikigaisha Daiyamada Shuppan Kari Henshū Buin Yamashita Tarō-kun, Godsider Second)2001 Comic Tokumori (Outer Zone Re:visited)2002 Champion Red (Saint Seiya Episode.G, Fuma no Kojiro)2006 Young Champion Retsu (Godsider Saga)2010 Comic Zenon (Angel Heart: 2nd Season, Gifū Dōdō!! Naoe Kanetsugu: Maeda Keiji Hana Gatari, Cyber Blue, Cat's Eye)International PopularityFormosa Youth Translating Dragon Ball Super from V JumpAs part of being the most popular manga magazine in Japan, Weekly Shonen Jump (and specifically its most popular series) are very popular around the world. Though internationally Jump is most popular in Europe and East Asia, it also has a growing market in the United States (possibly slowed down in the 00's by frequent censorship of highly popular series) and Latin America. The most popular Jump serials will often be published in a number of languages (generally while they are still ongoing in Japan) and several regions have even published their own equivalent to Weekly Shonen Jump such as Comic Champ (Korean) and Formosa Youth (Chinese) and the digital only Weekly Shonen Jump (English).It is worth noting that none of these magazines translate the entirety of Jump and when using Shonen Jump covers that show the mascot character of every series in the magazine, the international editions will edit out the series' that they don't translate. In the case of Comic Champ, original Korean material is heavily featured and in the case of all three magazines, while Weekly Shonen Jump is the most popular source drawn from, material from other Jump magazines like Jump SQ and V Jump is also included. The magazines are used to translate particularly popular material (such as One Piece) while it's still new in Japan but other series that aren't translated in magazine form are still translated and published in collected form.Though Shueisha's English-language publishing partner Viz had increased its effort of simulpubbed new series in its digital version of the magazine over the years, it frequently skipped over series that became successful which it then had to catch up on (such as Kimetsu no Yaiba or Jujutsu Kaisen). But in 2019 it increased its efforts and ended its digital magazine to instead provide an overall service that included much of their Jump back-catalog and began to simulpub all new series in the Japanese magazine.Shueisha quickly followed up with the launch of even more expansive simulpubbing service, Mangaplus, which picked up all the ongoing series Viz had skipped over the years (like Hinomaru Zumo or Jimoto ga Japan) and also began translating more of the Shonen Jump+ library and rereleasing older classics in new editions. Besides being accessible as a service to more countries, Mangaplus also offered other languages with its Spanish service even translating new Jump works the English service skipped over. The magazine is still not fully translated as one-shots are often ignored but even some of these are picked up if the author is high profile enough. With the end of Yuragi-So no Yuna-san in mid-2020 which could not be simulpubbed due to already being licensed to Seven Seas (after Viz passed it over), all the series in the magazine are now officially available internationally on the same day as the Japanese version.",
        "volume": null,
        "booktype": "Print",
        "age_rating": null,
        "collects": null,
        "ComicImage": "https://comicvine.gamespot.com/a/uploads/scale_large/3/38919/4940320-weekly%20shonen%20jump%201968%201.jpg",
        "total_issues": 2704,
        "publication_run": "August 1968 - Present",
        "status": "Continuing"
    }
}