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rants-about-opm · 1 year

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Ooo yes, how do you think people like Mumen, Genos and King would react if they got wind of the shit going down between the Blizzard Bunch, Fubuki, Tatsumaki, Saitama and Tsukouyomi and the fuckery HAs been up to?

Ha, a wonderful question! God I love the ask feature!

What makes this so interesting is that these three come from vastly different perspectives about the hero world and the HA’s involvement in it. Mumen, as far as we know, has far more trust and investment in heroes themselves than in the organization, but that leaves him under the misconception that all heroes are as dedicated as he is. Obviously, Genos and King are two pretty big examples. King is entirely a legend, he’s got nothing but luck on his side and has made very little effort to embody the person everyone believes he is. Genos’ sense of heroism stems from his dedication to Saitama, if Saitama told him to stop being a hero he would quit that very day. So for each of them, they’re looking through a very different lens.

I believe that Mumen would be the most affected by it, but only by a smidge. It would likely be shocking to him that things are going so awry, but as long as his own sense of heroism is intact, he’ll likely remain on the front lines. I’d love to say that he’d get a plot important reason to start questioning Saitama and becoming a bigger part of the gang, but he has a part to play and he plays it quite well. Mumen is honestly a good example of a proper hero, all he lacks is strength, there isn’t anything he has to learn from Saitama.

Genos would probably have the least interesting reaction, knowing him, when the smoke clears over the psychic fiasco he’s just going to smile smugly and go “Saitama sensei fixed this didn’t he?” Regarding the association though, Genos already has very little faith in the HA, and in turn, they have very little respect for him beyond his rank because of his infatuation with a figure they see as having little inherent worth. He already knows that they’ve been keeping Blast a secret, and honestly when Saitama inevitably spills the beans about the monsters housed beneath the new apartments/headquarters, it’s only going to further alienate him from the organization and cause more problems for them once the Neo Heroes show up. But talking specifically about how the Psychic debacle is going to alter his relationship with the sisters, I have a feeling things will return to being quite tense seeing as he’ll likely blame Fubuki for involving Saitama, and hold a grudge against Tatsumaki for attempting to harm Saitama.

King is kind of a doozy, because if his faith falters enough to show through his mask of indifference, people are going to go nuts, and the HA will fall much faster against the rising threat of the Neos. I’m honestly hoping that the realization of how much worse things are getting both within and without the organization leads him to seek training like he did in the webcomic. It sucks that ONE and Murata seemed to have scrapped the idea of King potentially learning from an on the run Garou. I hope we still get an arc of King starting to step up as a hero in the face of rising threats to his way of living. As hilarious as it is, he can’t depend on him and Saitama’s joined luck forever.

All in all, I feel like some seemingly minor changes in the character’s behaviors and their opinions of each other will have a massive ripple effect. We’re on the cusp of some big changes, and word of this fight getting out is going to be the straw that breaks the camel’s back.

Thanks for your ask! I love having conversations with people.

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hikapoi · 1 year

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This is from the Artists Asks List. You can just pick the ones you're interested in answering if this is too much lol.

1, 9, 12, 15, and 25

I've answered #25 over here! (= 1. Do you prefer traditional drawing, or digital?

AHHHHH this is such a good question.. I always want to say a real pencil in my hand is the way to go even after all these years doing digital art but last year I don't think I did any traditional art at all... It honestly makes me so sad that the only time I do any traditional work is during Inktober or Sketchvember.. when the months roll by I just think, "ah darnit another year goes where I only do traditional work as part of a game." Man I just think traditional is when I'm at ease and most relaxed bc I can just feel fluid if I'm drawing for fun, but with digital you can really clean things up to look really good. A part of the reason I enjoy doing the yearly holiday cards when I ACTUALLY SEND ANY is that it's a time I can do special traditional art for my friends to make them really happy. I think I'm good at digital art but am even better with traditional, but I don't think I can say that anymore if I haven't really touched a pencil in recent years. It might be the opposite now, my traditional work lacks the precision and finesse of my digital work but since I have art supplies I PAID for and HAVE TO USE I have a tendency to experiment with traditional media more. I am STILL buying loads of art supplies to this date..

9. How much time do you spend drawing on an average day?

HNGNGHGH it really depends.. Ah, average day? Hmmm when I'm on fire I might say at least 2 hours a day, whether it's to work on a quick doodle or to continue a more time-consuming piece. There are days where I might spend 4-6 hours. The craziest for me for one day might be 8 hours-- with or without breaks in between.

12. Is it okay for people to ask you about your process?

YEAH ABSOLUTELY ALWAYS it's no secret. I always did the circle/stick man base but when I really got into One Punch Man in 2012 or so when Murata-sensei was streaming, I noticed he skipped that step and went straight to defining muscles, limbs, faces, etc. I thought DANG if I could do that I could draw SO MUCH FASTER and SO MUCH MORE!! It was horrible at first and I hated a lot of my art while I was trying out this new thing but now I'd say I'm fairly decent and it does get me to do more art faster.

Anyway! My process is to start with a pose idea. The timing on this varies, but I usually thumbnail with little stick figures until something sticks. If there is one I like I might blow it up or redraw it on a larger scale. I always start with the face shape and eyes first. It helps me get a good idea on how to frame the hair. I cannot feel I am drawing the character until I get this right. I'll then detail until I color. I skip a line art step most of the time because I clean my sketches along the way ((I KNOW, RISA)). If it's a piece I'm serious about being a "best" I might seriously do a line art layer but I usually have trouble because I can never find a comfortable inking pen AND I feel line art makes my art suddenly stiff. I used to never color but I try to do it as much as I can because I have always admired my friends for their bold colors and I told myself that that's my own personal goal to have more colored work.

15. How long does an average piece take you to complete?

If it's a fairly simple/rushed drawing that is semi-refined that can take me about 2-4 hours? I can get a lot done in just 1 hour as well thanks to all those Mob Psycho 100 60 min challenges. But if I just take my time drawing something that I don't particularly hate I'd say 2 hours is a good average. For a more detailed one with backgrounds or groups or lots of detail, that could take me at least 8 hours of actually drawing. The hours spent into references/getting ideas/thinking of a background add to an illustration's turnaround time even if I am not actually moving a pen.

Thank you for your interest in me! I hope maybe I've said something interesting!

These questions are from this art meme if you want to do it too: https://hikapoi.tumblr.com/post/708522112589119488/artist-asks

#art meme #hika talks

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silvertsundere · 1 year

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Silver Talks AniManga (5/03/23)

there’s a buncha new Jump SQ series but they’re not on Manga Plus yet cause of Viz so I’ll read them whenever they arrive there. I could do it on Viz but don’t feel like fiddling around with vpn for it, I can just wait a week lol

I wanted to do this last week, but didn’t get around to it, but from now I’ll have a list of everything that’s under the cut, in order (left to right), here so you can know what’s in there without opening it EDIT: Witch Watch Ch99 is between sxf and bb, completely forgot about it tehe

Dandadan Ch95

the training arc is finally over and now is the time for the big fights to begin 👀also didn’t say last week but it’s crazy to me how yukinobu manages to, consistently, have crazy pages like this on a weekly series

One Punch Man Ch178

thank you for the excellent food like always murata 🙏 I feel bad for poor metal bat at the end tho lmao

Kaiju 8 Ch81

oh yeah there was no kaiju last time but I’ll keep it short. it’s really good, just a good ol hot blooded battle manga. I especially appreciate having an older mc (30s) for once. anyway I figured what happened in this chap was the case from when the 1v1 fights started but still, stuff is looking dire monka

Show-ha Shoten! Ch16

it’s about manzai comedy and drawn by takeshi obata of death note fame, I wasn’t sure about it at first cause comedy stuff either gets you or it doesn’t but it’s pretty good even ignoring the jokes and all that. also been a while since last chap so I forgot they had introduced a baddie sheesh

Ichigoki’s Under Control!! Ch13

another bad chap, at least it should be ending soon so that’s good cause I’ve been over it for a while

The Ichinose Family’s Deadly Sins Ch15

not much to say here either, still as edgy as ever, tho it’s certainly gotten a lot better since the bullying arc. but I’m still waiting for it to end soon like ichigoki, fabricant and ginka

Fabricant 100 Ch12

honestly? one of the best chaps it’s had. the scene under was cool and the reveal and spread at the end was neat

Ginka & Gluna Ch24

some really gnarly art in this one, which has been ginka’s biggest strenght from the start and this chap really shows it. tho good art is not enough to save it and it seems to be setting up to end soon, which is expected considering it’s rankings

Jiangshi X Ch7

more sprinklings of the overarching plot and setting up the main villains, expecting the mcs to get saved by the big boss and then for there to be a timeskip of sorts to when they’re strong enough to actually fight scary stuff but we’ll see

Tokyo Demon Bride Story Ch25

damn thing’s didn’t go according to plan and they got caught by the big baddie? what a shocker. leaving my prediction here that next chap is gonna be mostly talking and a cliffhanger at the end with them about to fight

SPY x FAMILY Ch76

anya focused chap with her being a fool as usual, not much to say really lol

Witch Watch Ch99

a teacher chap oh no. thank you for your hard work translator and typesetter. teacher chaps are always rough cause they’re super wordy and it’s all hardcore otaku rambling but this one had a nice message along with it so that was good

Blue Box Ch91

another incredibly good chapter. yumeka’s extremely relatable for me as I also used to do sports and quit for the exact same reasons she did as she explained some chaps ago and her feeling in this chap too. it’s just crazy to me to see a character like this in a sports manga where every chara just loves the sport and rarely has any second thoughts or negative feelings about it.

incredible work as usual miura-sensei, jump really needs more female authors

Cipher Academy Ch14

a nice chap, however I’m very excited for the murder mystery game. it seems like it’ll be very fun especially considering the 2 cards that got revealed and the narration box at the end 👀

Mashle Ch146

well that was fast, I expected that to last 2 or 3 chaps total not just 1 lol

Sakamoto Days Ch109

you’re gonna hear me say this a lot but the action coreography in sakamoto is some of favourite in anything, it’s soooo good

The Elusive Samurai Ch100

always very exciting to see a series reach the big 100. a nice chap too, done with upgrading the mcs tho this line had me very 👀👀👀

Akane-banashi Ch52

holy moly, another incredibly good chapter, continuing from the last one and further setting up and characterizing akane’s biggest rival

Ayakashi Triangle Ch122

a nice conclusion to that mini arc and a cute ending, thank you yabuki as always

#nice chaps overall even the weaker series weren't bad #also looking forward to the new stuff I didn't read yet #also 'but silver it says animanga and it's just manga what gives' yeah yeah I know #I just haven't watched anime in ages but I'll add some in future weeks #silver talks animanga

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acidproofnotebook · 1 year

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I posted 44 times in 2022

19 posts created (43%)

25 posts reblogged (57%)

Blogs I reblogged the most:

@gofancyninjaworld

@katyatalks

@koumbaya

@opmanime

I tagged 41 of my posts in 2022

Only 7% of my posts had no tags

#opm - 31 posts

#translation - 19 posts

#manga - 14 posts

#mob psycho 100 - 9 posts

#revisions - 9 posts

#omake - 7 posts

#genos - 6 posts

#drive knight - 3 posts

#update 160 - 3 posts

#update 163 - 3 posts

Longest Tag: 114 characters

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

My Top Posts in 2022:

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

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

Translator/ Typesetter: u\Bald_Caped

Date: 3 June 2022

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

14 notes - Posted June 4, 2022

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

Yup, this goes on!

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

Fear not! Drive Knight is here!

See the full post

18 notes - Posted February 26, 2022

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

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

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

See the full post

25 notes - Posted February 26, 2022

ONE/Murata 2015 Joint Interview

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

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

Translator: Herms

Translation Date: 2 April 2016

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

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

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

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

27 notes - Posted January 22, 2022

My #1 post of 2022

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

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

Amai Mask calling for help