Published by VegettoEX
21 October 2017, 3:51 PM EDTComment

Continuing onward from the previous chapters, Viz has added their English translation of the Dragon Ball Super manga’s twenty-ninth chapter to their website, continuing the “Universe Survival arc” of the series. This continues the recent initiative of Viz simultaneously publishing the series’ chapter alongside its Japanese debut, which saw its release today in the December 2017 issue of Shueisha’s V-Jump magazine in Japan.

The Dragon Ball Super “comicalization” began in June 2015 as a promotional tie-in for the television series. The manga runs monthly in Shueisha’s V-Jump magazine, with the series’ twenty-ninth chapter coming today in the magazine’s December 2017 issue. Illustrated by “Toyotarō” (in all likelihood, a second pen-name used by Dragon Ball AF fan manga author and illustrator “Toyble”), the Dragon Ball Super manga covered the Battle of Gods re-telling, skipped the Resurrection ‘F’ re-telling, and “charged ahead” to the Champa arc to act as further promotion for the television series. Viz is currently releasing free digital chapters of the series, and began their own collected print edition this spring. The second collected volume is due out in English from Viz in December, while the fourth collected volume is due out in Japan from Shueisha next month.

The Dragon Ball Super television series airs Sunday mornings at 9:00 a.m. on Fuji TV in Japan. The series now receives weekly simulcast streams on services such as Crunchyroll. FUNimation has also announced their American streaming and distribution license for the series, with the English dub beginning earlier this year on Cartoon Network, and the home video release kicking off this summer.

Published by VegettoEX
19 October 2017, 7:19 PM EDTComment

Continuing onward from the Kōzō Morishita interview, our latest translation comes from the the Dragon Ball GT Dragon Box’s “Dragon Book” yet again in the form of a story-focused Q&A session with script writer Atsushi Maekawa.

Maekawa was the most prolific of writers during Dragon Ball GT‘s run, handling 28 episodes and the television special himself. In the Q&A, Maekawa shares some of the story points that ultimately went undeveloped in the series, such as a series of episodes that would have focused on Gohan’s return to the battlefield:

For instance, in Gohan’s case, there was apparently so much as an “Ultimate Gohan” concept in Dragon Ball Z, where he was a super-warrior with might surpassing Goku, but in GT, he’s a scholar who’s given up fighting almost entirely. But for someone who had given up fighting like that to return to the front lines, I thought that naturally there needed to be quite a bit of drama involved.

Around the Super 17 arc in the animation, he came back as a super-warrior all of a sudden, but actually, I personally wanted to put in a heroic episode telling the reason he started fighting again. For instance, people he loved, like Videl, had been hurt, and when in the depths of anguish, he happened to open up his wardrobe, inside was his dōgi from fondly-remembered times. Together with the line, “To think there’d come a day I’d wear this again…”, he brushes off Chi-Chi, who in tears is trying to stop him, and makes a shocking, lightning entrance on the battlefield. Considering the status of the character, I wanted to spend one or two episodes showing that level of resolve, and I recall having even written the plot for it. But it’s a subplot that diverges from the main story, I guess you could say, so due to various circumstances, it never came to fruition, and it ended up stopping at the level of, he takes off his glasses, and takes on the eyes of a warrior. (laughs)

Maekawa also details the thought process and direction behind the very end of the Dragon Ball GT television series, addressing whether or Goku died during his battle with Yi Xing Long and his departure with Shenlong:

To be honest, in GT episode 63, just before the final episode, a big change comes over Goku. Those who watched carefully might have noticed, but… In that episode, Goku, who takes Yi Xing Long‘s attack, sinks to the bottom of a deep hole. That is the turning point. Afterward, Goku still continues the battle, but what’s different from before is that he’s cloaked in an aura that won’t let any attack near him.

It might be that he died there, or it might be that he became something else entirely. I’ll leave that decision to the imaginations of everyone who watched. However, the Goku up to that point that everyone knows clearly does not appear after that.


Our “Dragon Ball GT Ending Analysis” has been updated with some of this information, as well as tidbits from the Morishita interview. This Q&A has been archived in our “Translations” section.

Published by VegettoEX
19 October 2017, 8:48 AM EDTComment

After teasing the drawing last month, fan-artist-gone-pro “Dragon Garow Lee” (@dragongarowLEE) has shared the final front and back cover artwork for the upcoming collected edition of his Dragon Ball Side-Story: The Case of Being Reincarnated as Yamcha manga, set for release in Japan 02 November 2017 for ¥400 + tax.

Dragon Ball Side-Story: The Case of Being Reincarnated as Yamcha debuted last December, ran for three chapters, and is available to read for free in its original Japanese language on Shueisha’s Shōnen Jump+ digital platform. The series revolves around a young man who dies and is reincarnated in the Dragon World as Yamcha. With his knowledge of the Dragon Ball series, he is able to change Yamcha’s fate. The collected volume is available to pre-order on CDJapan and Amazon Japan.

Published by VegettoEX
16 October 2017, 9:26 PM EDT1 Comment

Our latest translation for the archive comes courtesy of 2005’s penultimate Dragon Box release in Japan: the Dragon Ball GT television series.

In a special “GT Back Then” interview, producer Kōzō Morishita speaks about the sequel series’ original concepts, gradual transitions, and simultaneously treading of both new and old ground.

In light of recent products like Battle of Gods, Resurrection ‘F’, and Dragon Ball Super, it may be interesting to hear that the original idea for Dragon Ball GT was also to exploit the large gap of time seen in the original series between the defeat of Boo and the 28th Tenka’ichi Budōkai:

The last chapter of the original manga is set ten years after the battle with Majin Boo, so initially the idea was to have anime-original stories depicting the events of those ten years, and various such stories were planned out. Content-wise it was thought that the plot would revolve around the exploits of characters such as Pan or Trunks; in other words, the next generation of children.

Equally interesting in light of the current Universe Survival arc in the Dragon Ball Super television series, Morishita speaks to the idea of an ever-growing universe and cast of characters:

When it came to the problem of a sense of scale, outer space was better than the Earth, and the worldview of the original manga was vast enough to allow any sort of character to turn up there. If we could continue it out there, then the series could keep on going for another 10 or 20 years (laughs). With all that in mind, we made space the setting.

Morishita also candidly speaks about the series’ sometimes divisive response among fans and critics and its inevitable comparisons to Toriyama’s original work:

There were many fans who valued it for the way that it took the “anything goes” plot progression of the original manga and went even further with it. At the same time, there were those who said it took the “anything goes” attitude too far. There were fans who wondered “why are you ruining the original?” and also those who thought that the “ruined” parts were what made it interesting. Perhaps Dragon Ball GT pushed away some of those who had been fans from the very beginning of the manga’s run, but it also created many new fans, and maybe Goku has been very important to them too. Thinking about it now, perhaps Dragon Ball GT appears separate from the sense of security of a “Akira Toriyama work”.


This interview has been archived in our “Translations” section. Some suggested reading after checking out this 2005 Morishita interview:

Stay tuned for additional (old!) translation work in the near future, including (perhaps…?!) more from the Dragon Ball GT Dragon Box release.

Published by VegettoEX
16 October 2017, 2:34 PM EDTComment

Kazuhiko Torishima has held a massive influence on every aspect of Dragon Ball‘s production, from before it was even a twinkle in Akira Toriyama’s eye, up through the creation of Dragon Ball Kai and beyond. In a fascinating interview with Forbes last year, Torishima discussed his thoughts on the television series adaptation, and why certain changes were made on the production side leading up to the “Z” shift. Tune in as we try to see what Torishiama saw so many years ago, and how these changes impacted the franchise for decades to come!

Episode #0429! Mike and Lance discuss the Dragon Ball franchise’s shift to “Z” based on Kazuhiko Torishima’s comments and observations from a 2016 interview with Forbes. What changes were made to the production team, and how did those changes trickle down and shape the franchise for decades to come? A little bit of impromptu listener questions wraps up the episode!


Enjoy! Discuss this episode on the Kanzenshuu forum, and be sure to connect with us on Twitter, Facebook, Instagram, Google+, and Tumblr.

Our podcast feed is available via iTunes and/or Google Play Music. You can also listen to this episode by directly downloading the MP3, or you can listen on YouTube and/or SoundCloud.

Published by VegettoEX
13 October 2017, 12:30 PM EDTComment

Shueisha has begun releasing digital versions of all Dragon Ball Film Anime Comics, with the first batch of ten — covering the three Dragon Ball movies, first six Dragon Ball Z movies, and the 10th anniversary film — available 04 October 2017.

Another batch of five — covering the seventh through eleventh Dragon Ball Z films — will be available 04 November 2017. The final batch — covering the twelfth and thirteen Dragon Ball Z films, the Bardock and Trunks Dragon Ball Z television specials, and the Dragon Ball GT television special — will be available 04 December 2017.

All of the digital releases thus far appear to be priced at ¥600 each.

The anime comic releases arrange screen shots from the films into traditional manga panels with corresponding dialog and narration bubbles. All of the respective films and television specials were adapted to print versions over the course of 1992-1995, with later productions like the 2008 Jump Super Anime Tour special, Battle of Gods, and Resurrection ‘F’ receiving slightly-more-timely print conversions.

The anime comic series would often include supplemental material such as contemporary character biographies and transformation guides, and the occasional special feature such as the Bardock television special’s anime comic’s “The Lonely Future Warrior!! Trunks” original illustrated story.

The Dragon Ball Z television series received a similar treatment over the course of 2005-2010, independent of and complementing various manga re-releases and re-prints at the time.

Published by VegettoEX
12 October 2017, 9:13 AM EDTComment

This weekend’s one-hour Dragon Ball Super television special — effectively episodes 109 and 110 aired back-to-back — featured an all-new vocal insert song during its second half, and the first original insert song for the Dragon Ball Super television series: “Ultimate Battle” performed by Akira Kushida.

While the song’s title in Japanese is written out as 究極の聖戦, the furigana for 聖戦 (sekisen or “holy war”) indicates an English pronunciation of “battle”. The song’s lyrics were provided by series veteran Yukinojō Mori, with composition by ZENTA, and arrangement by Takatsugu Wakabayashi and ZENTA.

Kushida’s career spans various Shueisha- and Toei-owned properties such as Kinnikuman and Toriko, with an even more extensive catalog in the tokusatsu world.

The series’ first opening theme song — “Chōzetsu ☆ Dynamic!” by Kazuya Yoshii — previously served as a vocal insert song during Dragon Ball Super episode 39.

The Dragon Ball Super television series only has one Original Soundtrack product thus far, released back in February 2016 and covering music from composer Norihito Sumitomo’s score up into the Universe 6 vs. 7 tournament arc. While all opening and closing themes will have seen formal releases by the end of this month, no additional background music or subsequent Original Soundtrack releases have been announced.

Published by VegettoEX
11 October 2017, 8:56 PM EDTComment

One of the best parts of running Kanzenshuu is the wealth of history we get a chance to dive into and archive. This week’s episode takes a look at Akira Toriyama’s arcade machine design from 1993, brings us from 1991 to 1997 to 2010 reviewing different official English releases of the same Dragon Ball film, and wraps up with a quick gut-reaction to the latest Dragon Ball Super extravaganza with Goku vs. Jiren!

Episode #0428! Mike and Meri take a look back at Akira Toriyama’s arcade machine design from 1993 before diving into three separate reviews of the first “Dragon Ball” movie’s English-language release. We wrap up with an uncharacteristic, quick gut-reaction to the one-hour “Dragon Ball Super” special featuring Goku’s fight with Jiren!


Enjoy! Discuss this episode on the Kanzenshuu forum, and be sure to connect with us on Twitter, Facebook, Instagram, Google+, and Tumblr.

Our podcast feed is available via iTunes and/or Google Play Music. You can also listen to this episode by directly downloading the MP3, or you can listen on YouTube and/or SoundCloud.

Published by VegettoEX
09 October 2017, 1:11 PM EDTComment

The February 1993 issue of Shueisha’s V-Jump magazine — then still actively emblazoned with the full “Virtual Jump” title — contains a wealth of Dragon Ball coverage, including: promotion for the upcoming eighth Dragon Ball Z theatrical film; a preview of the first Dragon Ball Z: Super Butōden game on the Super Famicom as well as its CG-heavy television commercial; a conversation with Akira Toriyama, Kazuhiko Torishima, and Tsuneo Matsumoto; a preview of what would become the Dragon Ball Z: V.R.V.S. arcade game; and a preview of the first 2D, sprite-based Dragon Ball Z arcade fighting game. The issue includes fantastic bonus manga material as well, in the form of the first Dub & Peter chapter from Toriyama himself, and the first Dr. Slump Returns For a Little Bit chapter written by Takao Koyama and illustrated by Katsuyoshi Nakatsuru.

Perhaps most notable about the arcade fighting game is the inclusion of a comment from original author Akira Toriyama himself:




It’s such an honor to have the arcade machine I designed myself take shape like this. I was really touched!

And on top of that, it’s exciting to be able to play a game of my own comic. I really want to try my hand at playing it soon.

It’s truly going to be such a long wait until summer vacation!

Indeed, Toriyama designed the actual arcade cabinet that would house the video game! The robot design is similar to some of Toriyama’s previous design work and especially to Robo from Chrono Trigger, who was still a good two years off from release at this point in time, and even Magetta from Dragon Ball Super.

The magazine’s coverage explains how a prototype for the cabinet was initially designed out of wood, though the final version was made out of metal and the feet were slightly adjusted so the machine would not topple over. The game and cabinet were set to debut later that year at Jump‘s 25th anniversary event during summer vacation.

The 1993 arcade game sported much larger sprite work than could be seen on home consoles of the day and included eight main playable characters (with a bonus unlock of Goku in Super Saiyan). No home port was ever adapted or released. Following the first-person Dragon Ball V.R.V.S. arcade game offshoot in 1994, a direct sequel — Dragon Ball Z 2: Super Battle — was released to arcades in 1995. Electronic Gaming Monthly covered the first arcade game in their January 1994 issue’s “Arcade Action” column.

Toriyama has commented on very few games over the years; these have included a sketch and comment for 2005’s Super Dragon Ball Z arcade release, and most recently a comment in support of 2018’s upcoming Dragon Ball FighterZ home console fighting game.

Toriyama’s Dragon Ball Z arcade game comment has been archived in our “Translations” section.

Published by VegettoEX
04 October 2017, 9:16 AM EDTComment

Bandai Namco has announced a forthcoming update to the PC version of Dragon Ball XENOVERSE 2 which will verify the integrity of game files in an attempt to stop “cheating” behavior within the game’s online community, with a stated consequence of banning users circumventing the tool.

ANNOUNCEMENT: This Wednesday we will release a new anti-cheating tool for DRAGON BALL Xenoverse 2 on PC/Steam. It’s designed to stop online uses of boosters, gameplay alterations and various cheats contributing to an unfair online environment. This will be seamless and automatically disable cheats, but users who insist on going around the anti-cheat will be banned by the system.

How will this work?

· The game will be updated with the new tool, which will scan the game’s binary files to ensure they are identical to the files delivered by the developers. The frequency is going to vary somewhat, but it will not have a performance impact.

This is a new tool so we look forward to your feedback and concerns. Thank you and don’t hesitate to ask questions in this post.

We reached out to Bandai Namco about this update — specifically with regard cosmetic “mods” that alter character appearances, etc. but otherwise have no effect on the underlying gameplay — who responded that, “…the PC anti-cheat tool will not alter any graphical modifications.”

Developed by Dimps for Bandai Namco, Dragon Ball XENOVERSE 2 is available worldwide for the PlayStation 4, Xbox One, PC (via Steam), and Switch. In North America, the game launched for consoles 25 October 2016 with a PC release following 28 October 2016. In Europe, the game launched across all platforms 28 October 2016. In Japan, the game launched on the PlayStation 4 console 02 November 2016. The Nintendo Switch port was released in Japan and internationally last month.