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[Manga] Welcome to the U19 Club: The Wonderful World of Shonen Jump Table of Contents Speculation
However, while WSJ is popular, it is also one of the most cutthroat publications out there. Because of its size, it can usually only carry around 20 different series, excluding oneshots and the like. If your manga gets published in WSJ and doesn’t immediately become a hit, editors will cancel it as soon as possible to search for another hit instead.
Anyway, on places like manga, 4chan’s /a/ board, and Twitter, a sort of speculation started. You see, every issue of Jump has a table of contents page, which simply shows the location of each series in the issue as well as the weekly author comments. However, while the order changes from week to week, the general trend is that the most popular series are located near the front, where they’re more accessible to readers, while the less popular ones are in the back.
Of course, many editors and writers for Jump have noted that the head editor is the one who has the final say in the table of contents order, so they stress that it isn’t a barometer. However, one aspect of WSJ is that the print versions (probably digital versions too, though I haven’t checked) include a survey card in each issue - readers can submit which three chapters they enjoyed the most this week, alongside any sweepstakes offers or popularity polls. And there have been plenty of cases where a series ranks fairly high on the ToC and then suddenly drops to the bottom on chapter 8, which has led people to realize that it usually takes seven weeks to accurately tally survey results. So while it may not be 100% accurate, it allows people to speculate over which series are thriving and which are likely to be cancelled.
Case 1: The start of the U19 club
Of course, as mentioned above, the cutthroat nature of Jump means that low-performing books will be cancelled in about three to four volumes. However, at the time there was no real way to describe this phenomenon. That all changed in 2017.
See, at the time, WSJ was going through a massive series exodus. Popular series such as Bleach, Toriko, and Kochikame had all ended in 2016 (note: the latter had been running for 40 years), and Jump really needed something to prop up sales. To that end, they announced an unprecedented event where, for six weeks straight, they would add a new series in each issue. Usually, whenever series get serialized in Jump, they’re done in groups of two or three, so it was clear that WSJ was looking for at least some hits.
Enter U19, a series that made readers wonder how the hell it got approved in the first place. The premise is that adults have converted Japan into a 1984-like dystopia involving abusive discipline and selective breeding in order to strengthen the country and bring it back to its World War II-era glory. The main character finds out that his love interest has been deemed an elite student while he’s an F-rank, and when she is separated from him he develops a power called Libido, which manifests as a sewing needle that grows more powerful when he sees her. Then he is joined into the ranks of the U19 club, an underground resistance full of people under the age of 19 with similar Libidos.
The description I gave it in the previous paragraph does not do this series justice. The art was fairly amateur, the concept of Libidos were just quirks from My Hero Academia with a different name, the villains were written to be cartoonishly evil, and in general it didn’t seem like the author knew what they were doing. It quickly was cancelled after 17 chapters, but a edit of one of the spreads by a 2chan user, where the members of U19 were replaced by characters from other short-running series, eventually blossomed into a meme. From then on, the U19 club became the unofficial way to refer to any series doomed to end in less than 19 chapters. People who saw the TOC rankings would soon gravitate to the bottom of the list, speculating over which series were likely to join the club.
Case 2: The battle of the gag manga
Okay, when I mentioned the idea of the table of contents, there was one part I glossed over. While the lower-ranked series were almost doomed to fail, for a couple of years the last series to be featured in the ToC would usually be a small comedy series. The idea being that no matter how unsettling or uncomfortable the rest of the books are, at the very least the magazine will always end on a happy note. For the longest time, this position was filled by Isobe Isobee Monogatari, but then it ended in 2017.
So in a September 2018 issue, to the surprise of everyone, two gag series premiered in the same issue at the same time. The first, I’m From Japan, was about a young boy who is obsessed with the various prefectures of Japan and uses them in fighting styles. The second, Teenage Renaissance David, reimagined the Michelangelo sculpture as a hot-blooded high school student. It was clear that Jump was hedging its bets on a new gag series to be their mainstay, but the question was: which one?
There was obviously a regional gap for this issue. Japanese fans were more likely to enjoy I’m From Japan, simply because the various puns and in-jokes made more sense to them. Western fans found Teenage Renaissance David better, because the classical art references were more familiar. What compounded the issue even more is that every issue, the two series would switch places - one would be in the middle of the magazine, while the other would be near the bottom. Compounding this issue was the unbelievable fact that in December of the same year, I’m From Japan was confirmed to have an anime in development (for reference, most Shonen Jump manga only get an anime greenlighted after at least a year of serialization, while IFJ had only been around for a few months at best - meaning an anime was planned before the series even started).
While western fans were in disbelief, people soon came to the realization of why IFJ was promoted over David - tourism. The fact was that IFJ basically had every chapter talk about the top exports, notable attractions, and famous people of each Japanese prefecture - which made it perfect in terms of advertising people to go to those prefectures in question. Ultimately, Teenage Renaissance David ended after 35 chapters, while I’m From Japan was transferred to sister magazine Saikyo Jump... only to end after 45 chapters. In the end, nobody won, although the author of Isobe recently started a new serialization that may become the new gag series.
Case 3: Chew Harder - The Tale of Samurai 8
While most of the titles I’ve been talking about so far have been obscure, you most likely know about Naruto. The ninja manga was published in Jump in 1999, and author Masashi Kishimoto made it into a massive work spanning over 70 volumes and 15 years. It’s arguably one of the most popular series to have ever ran in Jump.
So it was surprising to hear that after Naruto ended, Kishimoto noted that he actually had plans for a new series. In late 2018, more information came out - his new publication would be called Samurai 8: The Tale of Hachimaru, and it would be a science fiction title centered around cybernetic samurai. Notably, due to wanting a break from drawing, he would only write the series while one of his former assistants, Akira Obuko, would be doing the art.
Considering that such a famous author would be writing another series, Jump immediately went to advertising S8 however it could. Animated YouTube ads done months before the series actually started, expansive murals in subways, even putting pamphlets of the first chapter in other Jump manga. While it had done some promotional acts for other manga before, it was on a completely different level with Samurai 8. In essence, they were setting it up to be one of the core pillars of Jump before it even started.
And then the series actually started. While some people were optimistic, others noted that it wasn’t exactly a good start for the series. From the first chapter alone, the reader is bombarded with samurai lore that would honestly be better suited for explanation across chapters rather than in a massive exposition dump. The plot also became more complex - while the first chapter of Naruto framed the conflict as a plucky young ninja possessed by a demonic nine-tailed fox wanting to become the head of his village, the first chapter of Sam8 framed the conflict as a sickly young boy who wants to become a samurai, only to suddenly get a cybernetic body after committing seppuku and then he is told by a blind samurai master in a cat’s body that he must find the seven keys to Pandora’s Box, an artifact that could endanger the whole galaxy. The artstyle used to portray cybernetics made pages look cluttered, which made fight scenes difficult to understand.
In essence, while Samurai 8 had the prestige of being written by the author of Naruto, everything else seemed to be changed - not necessarily for the better. Compounding this were two separate facts. The first is that when the first and second volumes of the series were released simultaneously (another marketing stunt to encourage binge reading), Kishimoto wrote in the first volume that he would compare reading Samurai 8 to chewing dried squid - if the flavor doesn’t come out, just chew some more (i.e. buy the second volume, I swear things will get better I promise). The second was an interview with one of the former editors of Naruto, which revealed that many of the most popular parts of Naruto were editor suggestions rather than Kishimoto’s own work. Compounding this was an interview with the Samurai 8 editor, who seemed to revere Kishimoto; this made fans believe that he wasn’t policing Kishimoto’s work as much, similar to how George Lucas made the original Star Wars trilogy with the help of various editor suggestions and then the prequel trilogy with virtually no supervision.
The effects were noticeable. In 4chan, it became a meme to refer to Kishimoto’s chewing comment whenever Samurai 8 was discussed. TOC-wise, it dropped in the rankings until it was almost always near the bottom. Sales were night and day compared to Naruto, and ultimately, after the constant promotions over other WSJ series, Samurai 8 ended after five volumes and 45 chapters. Which seems okay enough until you realize that I’m From Japan, of all series, was compiled into six volumes.
Case 4: Time Plagiarism Ghostwriter
In May 2020, the same issue when one of Jump’s more popular series Demon Slayer ended, a new series called Time Paradox Ghostwriter started.
The premise of it went like this: An amateur author whose manga has been rejected by publishers constantly gets his microwave struck by a bolt of lightning, which turns it into a time machine. When he opens it up, he sees that it contains a copy of Weekly Shonen Jump from ten years in the future. Upon seeing that its premiere series, White Knight, is the perfect manga, but believing it to be a dream, he copies the first chapter the following day and sends it to his editor, who immediately greenlights it as a series. Suddenly the amateur author must contend with the high expectations pushed onto him - as well as the original author of White Knight, who is surprised that someone else has used her idea.
Maybe it was because of the premise alone. Maybe it was because it was one of the few Jump manga out there which didn’t fall into the typical conventions of being a battle, sports, or gag manga. Either way, TPGW immediately became popular in the west, with many people talking about how they love it. Many were immediately convinced that TPGW could immediately become a top seller for Japan. So, seven weeks after the first chapter, people were eager to see the first ratings for the series - only for it to debut in the bottom half of the magazine and drop lower every issue afterward.
People were surprised, to say the least. Why was a series with such an amazing premise flopping? Pretty soon, people came to a conclusion as to why this was happening: plagiarism. More specifically, in a magazine primarily aimed at young boys, the first few chapters tried to justify the main character plagiarizing White Knight and still paint him as a good guy, by having people constantly tell him that so many people are in love with WK and it would be a disservice to stop now. Even the original author, after meeting the main character, writes off the similar plot between his White Knight and hers as a fluke. And given how the Kyoto Animation Fire, one of the worst mass murders in Japan’s modern history, was caused because someone thought KyoAni had stolen their idea, it makes sense that people would be hesitant to like a series which pushes all of its consequences to the side.
So anyway, the first volume of TPGW was released, compiling all the magazine chapters while removing any reference to plagiarism in the text itself. Even then, it sold terribly. The author quickly tried to pick up the pace of their manga, glazing over plot points and moving the story at a breakneck pace, but it was too little too late. The series ended in only 15 chapters - unusual for Jump, as even more recent U19 series have gotten more time before getting axed. People were upset, claiming that Japan just didn’t have as good of a taste as the west and being upset that the previously-mentioned gag manga by Isobe’s author was immediately started the week after. So yeah, people were upset.
Anyway, that’s the long and short of some notable instances of Jump drama. I could add in some more stuff, like the quick cancelling of Act-Age or the drama surrounding mangaka like Kentaro Yabuki and Haruto Ikezawa, but I’ve written enough as is.
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