For a while now, I've wanted to read more manga regularly than the paltry 3 chapters a month of One Piece I've gone through ever since 2008. Big name hits have come and gone which I never got around to. Ever since its 2019 launch, Shueisha's Manga Plus platform has been my go-to platform for that fix, both for the higher quality translation than the alternatives and for the fractions of cents that go Eiichiro Oda's way from my seeing the occasional ad after finishing the week's installment.
For these first years of its existence, Manga Plus has been Shueisha's awkward half-measure at beating the scanlation scene on its home turf by providing some of the library from its line of Jump magazines free of charge globally. The focus has always been on the series which in East Asia are exclusively serialized in the hybrid free/paid Shonen Jump+ platform. A number of them are good, but manga magazines always depend on an "anchor" of a blockbuster to draw people in who then might check the other stories published alongside it, and for a while those were only among the traditional Shonen Jump lineup, which had a severely restricted amount of chapters available. The hook depended on the readership being heavily disciplined to not miss more than 3-6 chapters and to already be up-to-date with the big series, which often required scanlations as not every Shueisha licensee for a given country had a robust digital distribution platform (or any at all).
31 January 2022 saw a massive shakeup for that scheme: now all chapters of a select amount of series currently running were made available, all but the first and latest 3 to be read once. This was a great opportunity for me: the limitations would lead me to build a routine so I'd need to read at a regular pace and then keep up weekly from thereon out. In practice it resulted in long stretches of not keeping up, followed by bouts of marathoning batches of chapters over a few days to be up-to-date on a given series (especially on the last few months of the campaign; I was adamant at getting through everything I was interested in before the deadline). But it worked: I got to read more manga and now have a dozen or so series I enjoy to experience a bite at a time every week.
These are my impressions on what I read, from oldest to newest. Some spoilers for Ron Kamonohashi: Deranged Detective and Ginka & Glüna below:
Hunter × Hunter
I saw swatches of the 1999 anime + sequel OVAs many years ago, which I enjoyed but remembered little of as time passed; ditto Yu Yu Hakusho. Combat in battle manga can be fun on its own, but my interest wanes fast if there's little writing on the foundation that guides it. The more I read this, the more I came to see it like Virtua Fighter: The entire cast has straightforward aims, but the way they play off and clash with one another leads to an infinite web of possibilities, which everyone in-universe analyzes meticulously before making their moves. Compared to the other '90s holdout in the magazine, its refreshing in how outcomes are primarily dictated by the involved characters' values over any sort of shonen orthodoxy. Most of the buzz surrounding this story is centred on the Chimera Ant arc, and for good reason: the emotional journeys that the main cast goes through make for an impactful display of the logical endpoint that stock genre archetypes reach in face of nuanced circumstances, all from a story whose early volumes showed little sign of straying from that worldview. A certain fight at the end of this arc has meme status online, which was odd to me: emotionally, its the closest a Jump story has come to the pessimistic depths of The End of Evangelion. The other arcs are no slouches either: The climax of Yorknew City hit like a gut punch in its sublimity.
Storytelling of this complexity led to the pacing slowing down considerably, hand in hand with Yoshihiro Togashi's health issues and the multiple hiatuses that ensued—when it comes to sheer quantity, he has taken 24 years to pen what other big hits from the same magazine took 9—but that is what makes Hunter × Hunter soar. Its a story that's grown to the point of simply being unfeasible under the pressures of weekly serialization. The "fog" of unpredictability that made Chimera Ant so impactful is even denser in the current arc. I won't remember all the details once more chapters come out, but I'll gladly read however much comes out in whichever format and working conditions are found to be the best. Here's hoping that Togashi can find relief from his pain.
Jujutsu Kaisen (呪術廻戦)
A big factor in my desire to read more manga is an unhappiness with anime adaptations: As I've grown to appreciate specific authorial voices behind original productions and adaptations that took great liberties with their source material, I've inversely soured on overly faithful adaptions as sponges of talent which could be making its own stories instead of retreading others'. At the same time, an element I've gotten more stringent on is pacing: While the days of stretching less than one page of a chapter to last an entire episode are thankfully in the past, the process of translating from a medium where pacing is partly in the audience's hands to one where that's not the case feels as delicate as manufacturing spacefaring equipment. Over the last 3 years there's been various series I came out of feeling let down by pacing issues, while Yasuko Kobayashi has become a selling point on her own as what feels like the only anime writer who can make every single episode of series she handles series composition for compelling on their own right.
One such adaptation I watched was Jujutsu Kaisen (both the TV series and the film). Overall I felt it was a bit too slow, especially since it was mostly setup for its world and ensemble. But after reading through, I came to understand why friends who experienced both found the anime to be a massive improvement. The manga is messy and scattershot in storytelling and worldbuilding from the get-go. Its combat system (Jujutsu Sorcery) elicits comparisons to Nen in battle development and outré definitions, but a key factor in how Hunter × Hunter clicks lies in its clarity of setup. As complicated as later battles can be to follow, the fundamentals of how Nen and individual users' abilities work is always told in a straightforward manner such that a base level of understanding is always there even if you don't reread past chapters. Jujutsu Kaisen sees some improvement on this front as it goes on, but it never shakes off that unnecessary complication. This issue is reflected on all other facets of the manga, with explanations often coming in later than they ought have, as well as moments that should've been impactful deflated by this murk and an increasingly hurried marathon through the general plot. The latter of which also compounds a greater issue of multiple characters being introduced in quick succession without space to develop, before either being heavily sidelined or curbstomped by the main villain. Most of which told through art and panelling that can be a challenge to follow. The lead creatives behind the upcoming seasons of the anime will likely continue the clean-up work as they go on, but once the material from chapter 174 onwards is reached, they will have to undertake some heavy-duty refurbishment to deal with these worsening factors.
The paragraph above does not inspire confidence in this story, but I will keep up with it until the end, as despite such deep-rooted shortcomings, it has a great thematic core and much promise in its writing. More than any other Jump story I'm familiar with, Jujutsu Kaisen is openly, brazenly anti-institutional. It is acutely aware of how balances of power play out in both tenuous peace and complete instability, which unfurls in surprising ways. It is not afraid to shake up the status quo in ways that unnerve the readership. That worldview and willingness to take risks also plays out among the incredibly likeable cast, especially when it comes to its women, which get shafted way too much in this milieu. The dourness that's dominated the tone for some 2 years now has been difficult to sit with, especially compared to the light touch throughout the already adapted arcs, but given the overall trajectory, I'm confident that the culmination of this story will be worthwhile.
Chainsaw Man
Although Jujutsu Kaisen has some dark inclinations and bolder positioning that make it stand out among what the magazine usually offers, Chainsaw Man is something else entirely. The former feels like it exists in the fringes of the Shonen Jump "prefecture", while the latter is like a visitor from a different region. The lead is still a bright teen boy who's close to one girl and a brooding guy, there's training arcs and painful not-quite-betrayals and potential love interests and so on; but the worldview and storytelling stand alone in this survey. Its such a different beast that it became a massive hit beyond the usual audience for this sort of thing, bubbling up mightily after Part 1 wrapped to then explode once the anime started. I haven't watched it yet, but hearing that it slows down and gives more spotlight to Himeno, a standout character from the beginning of the story, had me committed to going through it eventually, someday. The biggest flaw of this manga so far is how little breathing room it affords to moments that could've had more impact otherwise, particularly around the end of Part 1. Otherwise its been a tightly woven narrative. Part 2 has been a joy to read through, here's hoping the new protagonist can make it out relatively OK given the bad hand life has given her.
Oshi no Ko (【推しの子】)
The big advantage Manga Plus has over scanlations are the translations made by professionals, which flow better and aren't beholden by a race to release before other sites. That is not the case here. While the English translations of everything else are done through Viz (an American publisher well established when it comes to picking work for quality), this series is through Media Do (a Japanese publisher who will resort to sometimes touched up machine translation). Oshi no Ko is always an awkward stop in the semi-weekly process of reading the latest chapters of everything: the prose always sticks too close to Japanese turns of phrase and is dogged by an overall clunkiness. Which is a shame, as it holds down an obsidian sharp story.
The revival of the Japanese idol industry brought along a surge of manga and anime—often tied to media mix strategies propping up an adjacent group—to nibble at some profit; a natural course of events given that it exists thanks to otaku willing to throw oodles of cash at their indulgences. Oshi no Ko forgoes that path thanks to its holistic worldview: there is an underpinning cynicism towards the entertainment industry, but atop it is a nuanced understanding of what drives people to it and the dynamics behind making a career in the field a living. Which is funny to consider in light of how fantastical the initial premise is, seemingly tying to some endgame that rarely comes into view. Its no cold analysis of the field either: there's a lot of menace and mania under the skin that I wished the art depicted better. I haven't gone through either Scum's Wish or Kaguya-sama: Love is War, but if this is what the authors are capable of together then I'm extra confident in seeing what they do on their own.
Magu-chan: God of Destruction (破壊神マグちゃん)
If I recall correctly, once a series wrapped, Manga Plus would let all chapters still be available for an extra month, then once time was up everything but the first 3 would be removed. Various friends of mine loved this one as it ran, so once I saw a deadline within a deadline I crammed my way through. Not the best way of experiencing a light-handed comedy starring cutesy Lovecraftian critters, but it was still an enjoyable read. The entire cast is a joy, which leads into the main flaw: the main sextet is spotlighted too much, even as the cast gets expanded with more fun characters who get only a few stories to shine (Muscar in particular could've used more). I wouldn't have minded more "serious" chapters either, as that's where the series' heart shows through. It was a shame to finish this one: felt like it had the potential to run way longer, even with just the setup it ended up with.
Ron Kamonohashi: Deranged Detective (鴨乃橋ロンの禁断推理)
Hitman Reborn was a favorite of mine once, as a weirdo comedy; could never get through the rest once it turned into serious action. Akira Amano is still a great artist with a good sense for design, but her sense for character writing leaves much to be desired. In a slice of life comedy with fantastical intrusions that was permissible, but as the counterpoint to mysteries in the absurdly ornate Japanese detective fiction lineage, that shortcoming becomes a glaring flaw. Its deeply ironic that this has the worst female writing of the 14 series I read, while being one of 2 whose author is confirmed to be a woman. I will commend her for keeping the ludicrous worldbuilding penchant going by making the title character a dropout from an entire school of genius prodigy detectives, who must face off against his extended family—descendants of James Moriarty—who see him as the black sheep, for he is also a descendant of Sherlock Holmes. I read through the first 50 chapters then dropped it. See you next story Amano, hope the anime turns out OK.
The Elusive Samurai (逃げ上手の若君)
Assassination Classroom is another Jump hit I missed out on, but before that Yusei Matsui was an assistant for a series I did catch some of; from the go I could feel the Bobobo-bo Bo-bobo lineage at play here. That tone matched to a sincere narrative strikes a weird chord, but it works surprisingly well. Much of that is due to how "out of place" the premise is for this magazine's house style: a redemptive reading of a minor figure in Japanese history, active during a period of civil wars preceding the well-trodden Warring States era, whose defining trait in a culture that prized fights to the death was to run away multiple times. That skew reflects itself in the approach to battles: no flashy superpowered brawls to be found here, only tactical strategizing and somewhat exaggerated bushido combat. On its own those sound like the ingredients for a dry, po-faced jidaigeki; but the whole approach leads to a breezy, light read instead. Character schtick, factoids about like in XIIth century Japan, and military plans laid out in an easy to understand way are all weaved together seamlessly. This is the kind of story where a person for whom next to nothing has survived in the historical record is turned into an espionage asset because the rest of the cast barely if ever realizes he exists, to the point he's almost always drawn transparently. This is no out-and-out comedy however: a level of respect for the values of the time is always present, and battles always come with jets of blood gushing from both armies. This tonal mixture will not gel for everyone, but those for whom it resonates get rewards across the board.
Witch Watch
Then came the other side of the coin, just 2 weeks after the above series. Jump's current slate has produced a lot of big hits just in the last 4 years, and I'm confident that this will join that pantheon once the anime airs. It hits a sweet spot between comedy, romance and fantasy; undergirded by solid character writing and the occasional serious moment. Its light on action compared to most others in this survey, but so is Spy × Family, and that became a titanic success. The comparison it invites the most is with Sket Dance, another comedy by the same author (who's currently crossing both over), but I never read or watched it. Instead, what kept coming to the forefront of my mind was Monthly Girls' Nozaki-kun: similar main cast dynamics, a fair amount of jabbing at otaku fare cliches, and a comparable tone. Witch Watch has a zanier sense of humor, mind, but its more grounded than what The Elusive Samurai goes for. This is the kind of manga that dedicates 2 whole chapters to a character droning endlessly about the joys of the denim lifestyle, to the point of getting 1 convert. Guaranteed fun times abound here.
Blue Box (アオのハコ)
If most of what I've profiled here is within a Jump prefecture, with Chainsaw Man visiting from a different region, then this manga came from a different island. I've never fully gelled with romance-centric narratives: too often it feels like that element overrides absolutely everything else going on the worlds of these stories, like in Video Girl Ai. This manga makes it clear from the go that its worldview is squarely 180° apart from there. Here, love is always taken in consideration of and in balance with all other facets of life; it gets the spotlight but never stays above everything else. However, its also a sports story, but the focus leads to a vastly different approach than the usual Jump fare: No detailed rundowns on plays or multi-volume matches here, only the necessary to portray the cast's ambitions and struggles, which then get reflected elsewhere. I prefer this setup to the usual route—character writing can feel stretched thin that way—but then I'm no sports fanatic. That focus more than makes up for the pacing: marathoned in batches its perfectly fine, but each chapter is like a baby step, so week to week it could be difficult if you're not sold on its promise.
Choujin X (超人X)
For anyone who keeps up with any sort of weekly manga, the toll of the relentless schedule on artists is a well-known occupational hazard. I'm glad for Sui Ishida to net himself a big hit early to then get the opportunity to make more at whichever pace he feels most comfortable with. Unfortunately, Manga Plus' setup is not friendly to that kind of output: the inability to re-read past chapters makes it difficult to keep momentum as long stretches of time pass by. My case probably isn't helping by this being another new series by an established author whose big hit I completely missed. Taking it on with no expectations: the art has wowed me with imagery it plays with, as well as the capability to slink between scratchy chunkyness and gritty contortion; the writing has toyed with some interesting directions, but the platform issues really hamper it. There can be a good story here, but Manga Plus is the worst place to experience it through.
Dandadan
Chunkyness is always in stock if you read this series. Its eager to indulge in messy gore quite often, but the art is always the cleanest of anything else running alongside it. That pairs well with the overall tone of the story: reading it in batches can feel like an energetic run through the aisles of a toy store. The consistency of creative monster designs and gorgeous battle scenes almost week on week is stunning. That its paired with a believable cast and writing that knows when to get serious and when to get silly easily makes it the most joyous read of the bunch. Whichever crew has to adapt it to anime has a savage challenge ahead of them.
PPPPPP (Pianissississississimo)
Of all the manga in this survey, the one about music surprisingly nestled itself in my heart. The inherent artform limitations are more than made up by the art, which matches an unique style with the most striking abstract imagery in its milieu. The story is no slouch either, tackling the pressures and expectations of personal growth in an interesting way, which makes it a nice companion to Blue Box. Unlike everything else here, it places the most emphasis on mood, which leads to its own reading experience. An animated adaption would be nice, but a delicate hand is a must for that to work.
Akane-banashi (あかね噺)
If there's any one expected mega hit in the making here, its this one. The idea of a rakugo-centric story in Jump sounds far-fetched in theory, but mapping its particulars to the usual sports manga framework is as effective as it is simple. Where it truly soars is the writing, the tightest around by leaps and bounds. Worldview, a likeable cast with distinct personalities and brisk pacing unfurl seamlessly front to back. The art is no slouch either, hitting a nice spot of chunkyness with with some wispyness. There's this gumption that emantes from every facet of this work that just hooks you in immediately. No wonder Eiichiro Oda and Hideaki Anno sang its praises just from the first steps. But I'm not sure if it can make the transition to anime: Showa Genroku Rakugo Shinju has its dedicated crowd, but it was a prestige drama aimed at niche crowds; while badly paced series composition could easily derail the entire experience.
Ginka & Glüna (ギンカとリューナ)
The art on this one is often stellar and stuns when it comes hand in hand with worldbuilding, but I'm not surprised to see it often on the back end of the magazine. The writing has pieces of something that could be good, but there's no distinct narrative or thematic drive to make it all click. People get their eyes gouged out and the most our leads do is spout platitudes about the power of imagination. Except for the zanier fare and Ron Kamonohashi, every other series I went through brings out verisimilitude out of trodden archetypes, as well as a distinct worldview that informs how everything else unfurls. Ginka & Glüna only has off-the-shelf parts on offer. I don't expect it to last much longer but I'll stick around to the end, whenever it comes. I do want to see where Shinpei Watanabe's career goes in the future, but it might be best if they become an illustrator partnered up with a dedicated writer instead of tackling both fronts. Best of luck to ya pal.