11 March 2018 by VegettoEX
10 March 2018 by VegettoEX
09 March 2018 by VegettoEX
09 March 2018 by VegettoEX
The official Dragon Ball website’s twentieth entry in “The Nearly Complete Works of Akira Toriyama” — an on-going series highlighting rare and important pieces of the author’s work over the years — is the main packaging artwork for 1988’s Dragon Quest III on the Nintendo Famicom. As the official site only posts weekdays, and the game’s 30th anniversary is 10 February 2018, this is likely the reason for the citation coming at this particular time.
The website notes how the image was drawn on pale gray Kent paper, giving it an antique-like texture. The image has since been reused several times over for things such as the game’s symphonic soundtrack and modern remakes:
In his comment accompanying chapter 141 of the Dragon Ball manga in September 1987, Toriyama mentioned wrapping up design work on the game:
Dragon Quest III marked a major turning point in the franchise’s popularity; the incorrect notion that a law was passed in Japan banning Dragon Quest games from being released on a weekday is attributed directly to the third entry, which saw many a Japanese student and adult alike adjusting their priorities. The first issue of Nintendo Power (July/August 1988) included a full-page “World News” piece on the game, noting its massive lines and growing popularity.
The first Dragon Quest game would not make its way to America — renamed as Dragon Warrior — until a year later in 1989. Dragon Warrior II came in 1990, followed by Dragon Warrior III in 1992.
Check out Work #010 from last month, outlining Toriyama’s work on Dragon Quest II in 1987 and some of its fun cameos in the Dragon Ball manga.
The official Dragon Ball website’s nineteenth entry in “The Nearly Complete Works of Akira Toriyama” — an on-going series highlighting rare and important pieces of the author’s work over the years — is a look at Toriyama’s 2003 children’s book, Toccio the Angel, about a naughty angel who befriends a sentient tank.
In the book’s author comment section, Toriyama explains his motivation for and experience trying his hand at a children’s picture-book:
Since I was originally more interested in design and illustrations, I really got to enjoy drawing this picture book. But since I’m new at it, it ended up taking a fair amount of time, and in a number of ways, it made me reflect upon the fact that I’m still in training. I’d like to study more and aim for a fun picture book that little kids will look at intensely again and again.
To tell the truth, since a few years ago, I’ve indulged my selfish whims and done nothing but enjoyable practice on things like picture books and design, and I’m virtually retired as a cartoonist. Nevertheless, I am very thankful to Shōnen Jump and the others involved who kindly gave me their cooperation in the production of this picture book.
Toriyama touched on Toccio in his “Akira Toriyama with Dragon Ball” interview in the 2004 kanzenban-focused guide book, Dragon Ball Forever:
Picture-book work is fun, but on the other hand, there are also parts where you build up frustration. With manga, it’s enough to leave some empty spaces and arbitrary lettering, but with picture-books, you have to draw it. There are character-description-type parts, so when I did Toccio the Angel, I thought it was pretty frustrating.
I only did it in the first place because talk of, “Why don’t you try drawing a picture book?” came to me. Really, I think I was a bit too conscious of picture-books in making the characters. There wasn’t much there that was exactly groundbreaking… I do wonder if it would have been better to go with that sort of characters, but it is a book I want little kids to read, after all. If I get the chance, maybe… I’d like to try doing an absurd picture book.
Toccio the Angel was released in January 2003, and was initially advertised (then still transliterated as “Tocchio”) in 2002 alongside what would ultimately be revealed as the kanzenban re-release of the Dragon Ball manga:
Having been available internationally for about a week already, Dragon Ball FighterZ made its debut on the PlayStation 4 in Japan 01 February 2018.
In its first partial week on sale (the reporting period of 29 January 2018 to 04 February 2018), the game pushed 68,731 copies to hit the #2 spot on the Media Create Sales list (second only to Monster Hunter: World, which pushed another 346,187 copies during its second week on sale in Japan).
Back in November 2016, Dragon Ball XENOVERSE 2 pushed 66,035 copies in its first partial week on sale. The first Dragon Ball XENOVERSE pushed 44,221 copies on the PlayStation 3 and another 34,690 copies on the PlayStation 4 (with an unknown amount sold on the Xbox 360 and Xbox One, not uncommon at all for Japan), for at least a combined 78,911 total copies, making it the top selling game of its respective first week back in February 2015.
In August 2016, Dragon Ball Fusions on the Nintendo 3DS sold 77,509 copies during its respective first week on sale in Japan. In April 2017, Dragon Ball Heroes: Ultimate Mission X on the Nintendo 3DS sold 92,809 copies during its respective first week on sale in Japan.
The 3-on-3, “2.5D” fighting game is developed by Arc System Works for the PlayStation 4, Xbox One, and PC (via Steam). The game runs at a 1080p resolution and 60fps frame rate, with higher resolutions available on the PlayStation 4 Pro and Xbox One X consoles, as well as the PC. Playable characters include Son Goku, Son Gohan (Cell arc design), Vegeta, Freeza, Cell, Boo (Good), Trunks, Piccolo, Kuririn, #16, #18 (with #17), Yamcha, Tenshinhan (with Chiaotzu), Ginyu (with teammates), Nappa (with Saibaimen), Gotenks, Son Gohan (Boo arc design), Boo (Pure), Hit, Beerus, and Goku Black (with Zamasu), as well as “Super Saiyan God Super Saiyan” (SSGSS, or “Super Saiyan Blue”) versions of Goku and Vegeta that can be accessed early via pre-orders or unlocked through gameplay. The Akira Toriyama-designed “#21” has also been revealed as a new character central to the game’s story mode. Dragon Ball FighterZ was released 26 January 2018 in North America and Europe, and 01 February 2018 in Japan.
Alongside its Japanese release, Bandai Namco announced that they had shipped two million copies of the game, making it the fastest-shipping game in the franchise’s history.
Arc previously worked on Dragon Ball Z: Extreme Butōden for the Nintendo 3DS, as well as the Super Sonic Warriors games (Bukū Tōgeki and Bukū Ressen) on the Nintendo Game Boy Advance and Nintendo DS. The developer is otherwise known for their Guilty Gear and BlazBlue series of fighting games.
The official Dragon Ball website’s eighteenth entry in “The Nearly Complete Works of Akira Toriyama” — an on-going series highlighting rare and important pieces of the author’s work over the years — is one of three main color drawings provided by Toriyama for the production of the anime-only Dragon Ball GT television series, which ran from February 1996 to November 1997 spanning 64 episodes and one television special.
Two of these images were printed in the 1995 No. 52 issue of Weekly Shōnen Jump, and were later included in the seventh Daizenshuu and the first of the two Dragon Ball GT Perfect File volumes. The first shows the gang on a planet labeled “Mommath”, hiding behind a giant glass bottle as giants curiously check out their ship; Planet Mommath and the giants appear in Dragon Ball GT episode 6. The next picture shows them on a desert planet named “Kahra”; this picture strongly resembles Planet Ruhdeze, seen in Dragon Ball GT episode 16.
Finally, Toriyama produced a third GT picture — the one cited here by the official website — for a calendar included in the 1996 No. 3-4 double issue of Weekly Shōnen Jump (released in late December 1995); this one showcases Goku and company beating up a bunch of aliens on a mysterious planet, none of which were actually used in Dragon Ball GT. Perhaps most notably, Trunks is featured with a gun rather than, say, a sword (as would be seen in the Dragon Ball GT opening theme and the opening sequence to Dragon Ball: Final Bout on the PlayStation).
A few months later, in the 1996 No. 13 issue of Weekly Shōnen Jump, Toriyama contributed a single-page bonus comic — “Dragon Ball, If You Please” — discussing his taking a break from serialization, and his thoughts on the upcoming 10th anniversary film as well as Dragon Ball GT.
As for Dragon Ball on TV, I believe that the new series Dragon Ball GT, which I didn’t draw, will have already started by the time this magazine comes out. I still haven’t seen any of it yet, but I’m both looking forward to and worried about what sort of developments there’ll be… I think if the story progresses at a brisk pace while also being leisurely, I have high hopes for it.
The Daizenshuu this time around covers the second half of the Dragon Ball anime. Come to think of it, apparently the TV series is going to continue for a little bit longer, as a brand-new story not present in the original. It seems well thought-out and promises to be interesting; or at least that’s what I gather from the rough scripts they’ve shown me, which give a broad outline of how it’ll be. From now on I can be just like everyone else, simply watching the TV broadcasts at home and wondering with bated breath what on Earth will happen next. I’m looking forward to it, and my thanks go out to all the staff.
Toriyama also provided input on the series’ title, its logo, and its main character designs (including their spaceship) — check out the Dragon Ball GT sub-section of our “Toriyama’s Contributions to the Anime” page in our “Production Guide“. Toriyama mentions these in his introduction to the 2005 Japanese Dragon Ball GT “Dragon Box” DVD release, where he also included a sketch of Super Saiyan 4 Son Goku:
My sincerest gratitude to all those who bought this Dragon Ball GT DVD box.
Being a lazy bum by nature, I was absurdly happy when I managed to safely finish up Dragon Ball‘s serialization, and finally be released from Deadline Hell. The TV anime people wanted to continue for just a little bit more, but I just couldn’t do any more than that… And so, I left the Dragon Ball anime completely up to the anime staff, story and all. That was Dragon Ball GT.
In car lingo, GT means “Gran Turismo”: a fast, high-powered car, in other words. But in this case, I had GT mean “Grand Touring”, a great journey, since the scenario was that they’d be running around the universe.
For GT, all I did was just come up with the title, design the initial main cast and some of the machines, and also do a few images. However, I was able to rest easy handing things over to the excellent staff, who had continued on Dragon Ball for all this time. In particular, the animator Nakatsuru-kun is amazingly skilled, and mastered the peculiarities of my drawings in no time at all, to the point where there were even times when I couldn’t tell whether I had drawn a certain character design, or if he had. For instance, one of Nakatsuru-kun‘s designs was “Super Saiyan 4”, which appears in GT, and the picture above is a portrait that I drew looking off it. Did I draw it well?
Dragon Ball GT is a grand side-story of the original Dragon Ball, and it’ll make me happy for us to watch and enjoy it together.
The official Dragon Ball website’s seventeenth entry in “The Nearly Complete Works of Akira Toriyama” — an on-going series highlighting rare and important pieces of the author’s work over the years — is a citation for the original Chobit chapter from the 1983 #10 issue of Weekly Shōnen Jump, released 08 February 1983. Chobit — not to be confused with Clamp’s Chobits from the early aughts — was Toriyama’s entry in the 11th “Jump Readers’ Award” competition from 1983, in which popular Jump artists entered one-shots and readers voted for their favorite contribution.
Toriyama won the competition in 1981 with Pola & Roid, getting a trip to Europe out of it; although he did not win again in 1983, he could take third place. This was the last year until the competition was (briefly) revived in 1997 as the “Jump Readers’ Cup”; Toriyama won again that year with Bubul of Demon Village, which became the prototype for Cowa!
The story of Chobit follows Mugifumi Yamano, a young policeman in sleepy Tonton Village, who has a close encounter with a tiny teapot-shaped flying saucer. Out from inside comes the titular Chobit, a teensy alien who is also a young woman.
The first Chobit chapter was printed alongside Dr. Slump chapter 157 (“Caramelman No. 5 Appears!”), and was referenced in his weekly author comment that issue:
In the later collection of Toriyama’s short works, the author describes being told how he would have plenty of time to draw his contribution so long as he is not first up; as luck would have it, of the ten authors, Toriyama gets the first slot. He is forced to draw it in a rush as everyone else gets a chance to enjoy New Year’s, and to add insult to injury, it was not particularly popular.
Chobit would later receive a sequel (aptly titled Chobit 2) in Fresh Jump‘s June 1983 issue, released 23 April 1983 (about two and a half months after the first).
Dragon Ball Online may be gone, but it has clearly not been forgotten if the continued revival of its characters and plot points are any indication! This week on the podcast we dive back into a character that was developed, never actually used, and is now set to make his first true appearance in the XENOVERSE series: “Fu”.
Episode #0434! Mike, Jake, and Chris detail a little history on the “Dragon Ball Online” graveyard mining taking place before examining the new-old character “Fu”. What is the real story behind this character, and what can we expect out of him in “Dragon Ball XENOVERSE 2” and beyond? A little bit of news and website content chat rounds out the episode!
The official Dragon Ball website’s sixteenth entry in “The Nearly Complete Works of Akira Toriyama” — an on-going series highlighting rare and important pieces of the author’s work over the years — is a set of character designs from 1986’s first theatrical Dragon Ball film, originally released 20 December 1986.
The set of designs feature the movie-original characters (from left to right): Pasta, Vongo, a soldier in King Gurumes’ army, Pansy, King Gurumes himself, and one of Gurumes’ robots. These original designs were then adapted by the film’s character designer, Minoru Maeda, for production on the film itself.
The first Dragon Ball film premiered as part of the Winter 1986 “Toei Cartoon Festival” along with two other movies from the GeGeGe no Kitarō and Kinnikuman franchises. A new GeGeGe no Kitarō series is set to take over in the Fuji TV timeslot currently occupied by the Dragon Ball Super television series this April.
The official Dragon Ball website’s fifteenth entry in “The Nearly Complete Works of Akira Toriyama” — an on-going series highlighting rare and important pieces of the author’s work over the years — is a sample from the second Bird Land Press release — the Akira Toriyama official fan club newsletter — from September 1983, with characters from “Ageha (Swallowtail Butterfly) Town Observation Diary”:
Toriyama-sensei comment: The title’s “Ageha Town Observation Diary”, and I drew it before “Dr. Slump”. It’s a phantom work that got rejected by Torishima-san!! There’s a kid with wings in it that became the basis for Gatchan. I really like winged kids like this, and I kept drawing them in previous works. And I was really gung-ho about making it the main character in this one… Anyhow, this work became my basis for creating “Dr. Slump”.
The official website’s writeup briefly details this same origin story, including some of the direct connections to Dr. Slump such as Gatchan, and its ultimate fate of being rejected:
The characters of “Ageha Town Observation Diary,” a comic drawn before Dr. Slump. Because it ended up being rejected, it’s an extremely rare work that wasn’t made available to the public anywhere else. Ideas that would form the basis for Dr. Slump, such as the little one with wings, are present in abundance.
Toei and Columbia have announced a second Dragon Ball Super Original Soundtrack volume for release 28 February 2018 in Japan. The set (COCX-40280~1) will span two discs.
Across 61 total tracks of Norihito Sumitomo’s score, the included music will span selections from the Future Trunks arc into the Universe Survival arc of the Dragon Ball Super television series. Multiple instrumental and motif versions of the current opening theme — “Limit-Break x Survivor” — as used in the show are included in the track listing.
Toei and Columbia have announced a Dragon Ball Super: Super Theme Song Collection album set for release in Japan 28 February 2018.
The album (COCX-40305), while not entirely comprehensive — it is not slated to include the tenth and eleventh ending theme songs, “By a 70cm Square Window” by ROTTENGRAFFTY and “LAGRIMA” by OnePixcel, respectively — will include both opening theme songs, the first nine ending theme songs, and the Tournament of Power insert song, “Ultimate Battle”:
Of the included batch of 12 songs, only “Ultimate Battle” is currently unreleased, with the others all receiving respective CD single releases or standard album inclusions prior to this. “By a 70cm Square Window” received a CD single back in October, while “LAGRIMA” will see a CD single release a week after this album in March 2018.
The “Super Theme Song Collection” is currently available for pre-order via CDJapan.