My reflex actions are mechanized like Japanese camera tourists happily milling in Bloomingdales shooting at beautiful symbols


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posts from @chwet tagged #Shonen jump

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I was quite taken with Mapollo 3's first serialization PPPPPP, and hoped to put some effort into a writeup of their second series Magical Girl Tsubame: I Will (Not) Save The World! . Lack of time/focus to spare, not having a paid Manga Plus account & the imminent death of this website helped put the kibosh on that idea.

The second point is most salient because, potentially in an attempt to retain more readership, Mapollo switched from a straightforward shonen plot framework to breadcrumbing the mysteries of the world for this series. Ultimately, it all could feel confusing to read week-to-week, and I struggle to put together a full rundown of what happened in my mind.

But what is there can be interesting. There's this substratum of darkness to Mapollo's worldview that gives some bite to their artstyle. With Tsubame in particular, it was difficult to not think of Madoka from the onset.[^1] The ending of the story hitting similar beats as Rebellion doesn't help matters. I do give some props for being more direct about the yuri side of the text, even if through side-characters that get a tragic ending.

This might be one of those manga best read by marathoning the whole thing, quite doable since its only 42 chapters.

[^1]: Mapollo even leaned on that influence by the end. On chapter 41, ||Superbia explaining to Tsubame that letting Koko live would require him to drag more youngsters into the magical kid life is accompanied by a panel with loose silhouettes that are blatantly Mami, Madoka and Sayaka||.

[^1]: Mapollo even leaned on that influence by the end. On chapter 41,

Superbia explaining to Tsubame that letting Koko live would require him to drag more youngsters into the magical kid life is accompanied by a panel with loose silhouettes that are blatantly Mami, Madoka and Sayaka
.



Just a few weeks after my last post mostly highlighting the best and the most promising series currently running under the Shonen Jump imprint, one of them finished after running for almost a year and a half. Most unfortunately for me, it was the underdog which I had grown the fondest towards.

PPPPPP had two qualities that made it tough to last in the shonen manga field: a focus on the expressiveness of music performance, and an artstyle where every person looks like they flopped out of the laundry basket. The latter often supplemented the former via creative imagery throughout the various piano duets that serve as this story's "battles". Together both came in service of storytelling that put its spin on conventional plot beats by frequently diving onto the textural.

All of that came to an end this week. The cancellation caught me by surprise. The last 12 chapters seemed to be in service of a "transitional" part between 2 duets, and that strength in mood-focused elements laid on thick for much of the panelling both made it seem in line with everything so far. But looking back, the flitting through much of the already established cast from a story that usually kept things contained to a small ensemble arc by arc is now clearly laying paths for the audience to know the ends everyone was supposed to meet.1

If my memories of reading BAKUMAN。 over a decade ago aren't faulty,2 usually unestablished mangaka are told of their axing ahead of the final 10-chapter order. How each one handles the wrap-up can vary wildly; I feel Mapollo 3 worked through it elegantly, although not perfectly. One character who until then had been a mystery set up for a late-game duet ends still mysterious, while chapters 68-70 are paced like a mad dash through what were clearly meant to be big moments for confronting the "main villain". Despite those points sticking out, the overall emotional crux is clearly laid out, and the final chapter manages to pack some glee alongside bitterness both inside and surrounding the narrative, with a damn fine closing panel.

Its not the kind of manga that will sit well with everybody, but if possible, I urge you to read its paltry 70 chapters while they're still available for free in most of the world. Given how things have usually worked on Manga Plus, all but the first 3 chapters will be removed by the end of March. Mapollo 3 is currently working on their next manga, which I'm eager to see how it will pan out. Don't miss out on either of them.


  1. Something that should be mentioned about PPPPPP that didn't fit the path of my writingis that it might be the first to apply shonen homoerotic subtext to a pair of girls instead of guys. There was something unexpectedly delightful to see that here of all places.

  2. BAKUMAN。 is the first series I ever rage-quit, specifically due to the awful way that women were written. The insight into the weekly serialization process was nice but I can't bring myself to re-read it & fully confirm that factoid.



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: