In conjunction with the game’s latest update — providing the free “Hero Colosseum” mode to all players alongside the paid “Extra Pack 1” with new playable characters, special moves, etc. — Bandai Namco has introduced microtransactions into Dragon Ball XENOVERSE 2. The in-game “TP Medal” currency, previously and also still available from completing missions and battles over the normal course of gameplay, is now available for direct purchase on various console storefronts.
In the North American release, TP Medals are available in five different batches (with international pricing obviously varying by region):
200 TP Medals for $1.99
500 TP Medals for $3.99
1000 Medals for $6.99
2000 Medals for $12.99
5000 Medals for $29.99
Certain special attacks and costumes are only available in the game via the “TP Medal” currency (separate from the Zeni currency, which can also be used to purchase items, generally of a lower quality/effectiveness).
Bandai Namco has dabbled with other methods of TP Medal distribution before, such as redemption codes with figures as well as a partnership with Daisuki providing redemption codes to viewers of the Dragon Ball Super television series on their streaming service.
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 in September 2017.
Following content teases going back to September, Bandai Namco has released “Extra Pack 1” for Dragon Ball XENOVERSE 2, the fifth paid downloadable content pack for the game. Retailing for $9.99 in America (with varying price points worldwide), this “extra” pack is not covered by the game’s original “season pass” and must be purchased separately (or for $16.99 in a bundle alongside a forthcoming “Extra Pack 2” set for release in 2018).
4 new powerful characters: Dabra, Buu (Gohan absorbed), Tapion and Android 13
Zamasu as a new Master
5 New Parallel Quests
4 New Costumes
13 New Skills
8 New Super Souls
(NOTE: Despite the consistent text across Bandai Namco’s social media and game listings, the character’s name is still spelled as “Dabura” in-game.)
A free update accompanies the paid version, which adds a new “Hero Colosseum” mode for all players (clearly taking a bit of inspiration from Dragon Ball Heroes):
UPDATE: The European branch of Bandai Namco clarified on Twitter that the updates will come to the PC/Steam edition of the game next week, with the free update hitting 04 December 2017 and the paid “Extra Pack 1” hitting 05 December 2017. Meanwhile, the American branch of the company specified on Twitter that the Switch release would also be “coming soon”.
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 in September 2017.
Continuing onward from previous chapters, Viz has added their English translation of the Dragon Ball Super manga’s thirtieth chapter to their website, moving further into the “Universe Survival arc” of the series. This continues Viz’s initiative of simultaneously publishing the series’ chapter alongside its Japanese debut, which saw its release today in the January 2018 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’ thirtieth chapter coming today in the magazine’s January 2018 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 was released by Shueisha in Japan earlier this month.
I will be honest: this post took me nearly three days to compile. The raw emotions experienced in this situation are just something we have rarely had to deal with as a community, let alone such remorse as something I have personally had to deal with. As someone intimately familiar with the series for nearly two decades, it breaks my heart to hear of the passing of Hiromi Tsuru. For as long as I have known Dragon Ball, I have known Hiromi Tsuru as the one-and-only voice of Bulma, a staple of the series’ main cast. Hiromi Tsuru has been a pillar to the series for thirty-one years, which for me encompasses nearly my entire life. There is not a moment that I don’t recall her being a part of my Dragon Ball experience, which is truly saying something.
In the past we have lost such legends as Daisuke Gōri (voicing nearly everyone, such as Umigame, Gyūmaō, or King Enma), Takeshi Aono (God), or Kōhei Miyauchi (Kame-Sen’nin), but for some reason this loss hits me harder than anything I can recall. Don’t misunderstand me, I thought the loss of Daisuke Gōri was the worst things could get, until this last Thursday. The loss of Hiromi Tsuru really hits home for me in ways I cannot quite explain. I thought I could deal with this just like any other loss we’ve experienced over the years, but this post is the best way I can deal with it. I’m putting myself out there, which is always a bit scary, but I’m not the only one. Everyone involved with Kanzenshuu feels this loss, as if it were our own family member.
As long as Dragon Ball exists, Hiromi Tsuru will never be forgotten. She will forever be our Hiromi Tsuru, our Bulma, our friend. She will forever live on in our hearts. She will forever walk amongst Dragon Ball fans far and wide, from Japan to North America, as the brilliant scientist of Capsule Corp.
Thank you Hiromi Tsuru, for the love, the joy, and the happiness that you have brought to generations of fans, both young and old. You will forever live on in our hearts and minds as the one-and-only Bulma. The one-and-only voice of Dragon Ball.
Voice actress Hiromi Tsuru, best known as the voice of Bulma in the Dragon Ball franchise (along with Bra, Tights, and even baby Trunks), has passed away at age 57.
At around 7:30 p.m. on November 16th, Hiromi Tsuru was found unconscious in her car on the Shuto Expressway in Chūō, Tokyo; her seatbelt was fastened and the car’s hazard lights were on; there was no sign of an accident. She was taken to a hospital where she was pronounced dead; the [Tokyo] Metropolitan Police Department are investigating the cause of death, and say it may have been due to illness.
UPDATE: Tsuru’s agency, Aoni Production, announced that the cause of death was aortic dissection. A private, family-only funeral will be held.
Tsuru appeared in the Dragon Ball series with its very first episode in 1986. In 2004, for her interview in the Dragon Ball: Tenka’ichi Densetsu guide book, Tsuru stated:
Dragon Ball is a really amazing and interesting work. There are a lot of battles, but if you can sense the message that’s there in them, I’ll be happy. Also, please be partial to Bulma!
FUNimation’s online shop reveals a 20 February 2018 release date for their third part of the Dragon Ball Super television series on DVD and Blu-ray.
After a startling meeting with Beerus’ brother Champa goes sideways, the godly brothers decide to settle their differences in the best way possible: by putting their best fighters to the test. It’s a battle of universes as Universe 7—the home of Goku and the Z Fighters—faces Universe 6 in a brand-new Martial Arts Tournament! And the ultimate prize is one worth fighting for—the Super Dragon Balls from Universe 6. Can Goku gather the best fighters for a chance at true glory? And who is the mysterious Monaka that Beerus boasts as his strongest warrior? Get ready for an out-of-this-world competition!
The bilingual (English/Japanese) two-disc set will span episodes 27 to 39 and is slated to contain 25 minutes of bonus material. The set will retail for $39.98 MSRP on DVD and $44.98 MSRP on Blu-ray.
Spanish fandom website Misión Tokyoposted a fan Q&A from the Salón del Manga convention in Barcelona this weekend featuring Kimitoshi Chioka (first series director on Dragon Ball Super) and Hiroyuki Sakurada (current producer on Dragon Ball Super). A follow-up private interview was also conducted which supposedly resulted in what could be considered exciting or at least semi-important news. A bit of translation-related confusion may have led to some initial overeager reporting externally, though a few interesting tidbits are at least hinted at if not flat-out dropped entirely.
NOTE: The following analysis and summary is based on the answers in their original Japanese form. While the Spanish translations to and fro have also been reviewed, we are not considering them in what you read below beyond confirmation on the questions being asked.
Interview #1 (Video)
The production team discusses previous ventures and what factors are involved in deciding whether a series continues on; ratings and merchandise sales are important factors in whether sponsors continue to support a show, so as long as these remain healthy, there is no issue with continuing. Dragon Ball Kai is cited as an example where ratings were fine, but merchandise was not selling; after all, the material was limited to the original series, which was already available and had been selling well for decades.
As for Dragon Ball Super specifically, the production team are asked about the relationship between the anime and manga versions of the series; both are based on Toriyama’s story suggestions and the main characters are designed by Toriyama himself, though Toyotarō’s involvement has also recently extended to some supporting characters. They cannot say whether or not Dragon Ball Super will link up with the original ending to the manga/anime, as Toriyama has not yet decided how it is going to end.
A question regarding a rumor about a new theatrical film for 2018 is proposed (and how it may relate to the television series), to which the producers simply remain coy and ask everyone to please look forward to an announcement of some kind.
Dragon Ball GT is cited as an example where Toei Animation continued the series beyond Toriyama’s original vision, and whether or not something like this could happen again. The production team responds without a clear answer, but does note that Toriyama is nowhere near his limits in terms of the larger Dragon Ball story, so please look forward to it and wait patiently.
The current Tournament of Power is discussed, specifically with regard to the sheer number of characters; it is fun, but also difficult to keep track of everyone, but the format gives a new kind of excitement not previously experienced, having Goku fight in the middle of it all. The interviewers ask about certain aspects, such as Gohan’s involvement and Boo’s thin-then-fat-then-out storyline, if characters like Yajirobe could appear again, and later on in the interview if Cell could possibly come back, if Goten and Trunks could become important again, why Yamcha is so comical now, if there will be any more tail-based transformations… to which the production team explains that they are simply following Toriyama’s draft that is delivered to them (a response that pops up several times over in the course of the interview).
The interviewers question whether the team considers an international audience watching the show while it’s primarily aimed at grade-schoolers in Japan; they are mainly focused on their target audience, which is unchanged from when the series originally began. A later question goes into more detail about a possible tonal shift, but the directors do not see it as any more “adult” than before; if anything, it is simply more “Z”-like. Later on, they discuss how they are aware that depending on the country, certain scenes may get cut due to different standards, but they believe it is all right so long as the fun of Dragon Ball remains intact.
The group also discusses whether Toei has the power to have Toriyama change the story, to which they amusingly explain they can ask him little things here and there, but they cannot force him. On a day-to-day basis, a director will give suggestions regarding the scenario and storyboard, check in on the animation that comes in, etc. with lots of team-based collaboration; there are roughly 21 people involved in the direction on an episode-level. From script to completion, an episode takes roughly six months of production (four alone for the animation). As already known, the show is produced digitally using specialized software, though the original drawings and keyframes are still done by hand.
With regard to Trunks’ blue hair, after a bit of confusion over who is and is not Super Saiyan Blue, the team simply answers that Toriyama gave instructions for the colors.
As to whether or not there could be additional crossovers (such as with One Piece), more hour-long specials, or even a spin-off for characters like Jaco, the team responds that anything is possible, but there is nothing concrete to report right now.
Interview #2 (Audio)
In a separate, private interview conducted earlier — which the group subsequently provided an audio recording of — the group dives into a few more specifics, with the production team commenting on the forthcoming Q&A session. They explain that incorporating the theatrical films Battle of Gods and Resurrection ‘F’ into the new television series was Toriyama’s idea, and was part of introducing the characters Beerus and Whis, who the producers deemed essential to the story, to children who may not have already seen the movies. They stated that they cannot say when the series will end, as the Universe Survival arc is only just now heating up. Least and favorite parts of the production are discussed, with the overall stress of such a project being the least favorite. They move to a discussion regarding Toyotarō’s involvement; as we already know, Toriyama does the story suggestions, while Toyotarō does the manga based on that along with some secondary character designs. The discussion then turns to what the interviewers suggest is a shift to a more “adult” tone over the course of the series, but the interviewees do not agree–it has always been grade-school oriented, but of course it can be enjoyed by all ages; rather, it has just become more Dragon Ball-like. When questioned on the director shift in Dragon Ball Super, they respond that it is simply Toei’s way, allowing them to change up the taste of the show.
The interviewers ask point-blank about a “new movie” — making the assumption that one is happening, without one actually having been announced — to which the production team responds that they cannot announce whether there will be a new movie, and to please be patient. They do say that with regards to future developments in Dragon Ball Super, we will find out “soon” — then specifically say “at the end of the year” — but do not commit to it being a movie in any way. It is questioned whether the current arc is the last; the production team answers that the current arc will last until March, but Toriyama naturally has something in mind for the story of the Dragon World.
Analysis
By way of these interviews, certain individuals initially reported variations on the series ending or possibly ending in March. From our standpoint, we do not believe this is necessarily a correct interpretation of the answer(s). Rather, it fits the pattern for starting to release new information on a new story arc several months before it debuts. Talk of an announcement for later this year combined with forthcoming new story developments lines up well with Jump Festa 2018 this December, which is always a key point in time for new series developments and early previews — see last year’s Universe Survival arc preview as a prime example.
As far as key takeaways from these interviews, most concretely for Dragon Ball Super, the production team specifically says:
They cannot say when Dragon Ball Super is going to end (as the Universe Survival arc is just heating up)
They cannot say whether or not Dragon Ball Super will link up with the original ending to the manga/anime, as Toriyama has not yet decided how it (i.e., Dragon Ball Super) is going to end
The Universe Survival arc itself appears to be slated to run through to March 2018
Toriyama certainly has something in mind for a continued story
There is nothing to announce right now regarding the future potential for things like additional crossovers, television specials, or theatrical films
Additional announcements will come in due time, starting later this year
The fourth collected volume of Toyotarō’s Dragon Ball Super manga — originally and currently serialized on a monthly basis in Shueisha’s V-Jump magazine — officially hit Japanese shelves 02 November 2017 for ¥400 + tax. Spanning 200 pages, the volume covers chapters 21 through 24. The volume takes its title of “Last Chance For Hope” (HOPEへのラストチャンス HOPE e no Rasuto Chansu) directly from chapter 21 itself.
In his introduction to the volume (inside the print edition’s dust jacket), Toyotarō states:
Toriyama-sensei said that “Dragon Ball is a collection of weirdos, but through one thing or another, they end up looking like good guys.” Not “they are good guys”, but “they look like good guys”. So that’s how it is, I thought.
Per the norm (to offset the odd number of pages per chapter), Toyotarō has included fun drawings between chapters. In one drawing, Gowasu welcomes (the presumably not-yet-super-evil) Zamasu to study with him in the Kaiōshin realm.
Minor redraws from the original V-Jump serialization (left) to the collected edition (right) include Goku’s Super Saiyan God transformation in chapter 22:
Chapter 23 has been expanded from 45 to 49 total pages with new panels and entire new pages showcasing Vegetto’s overpowering of Merged Zamasu.
Whereas the third volume only included a brief series of illustrations and comments about the approval and revision process with original author Akira Toriyama, the fourth volume returns with a follow-up to the first volume’s “Tori-Toyo Talk”. In the new joint talk, Toriyama and Toyotaro “…discuss the secrets behind the birth of the ‘Future Trunks arc'”, touching on how to convey the psychological state of characters on the page, as well Toyotarō being asked to adopt some of the more “loose” aspects of Toriyama drawing and story-telling.
TORIYAMA: As far as his illustrations go, previously it always seemed as if he was chasing after my Dragon Ball. However, recently his own colors have started to emerge, and I think it’s made for a definite improvement!
TOYOTARŌ: Oh, I’m much obliged.
TORIYAMA: Let’s see… if I have to say something else, then I guess it’s that you’re too careful! Particularly with battle scenes, it might actually be good to cut corners a bit.
TOYOTARŌ: Battle scenes are really difficult, and I’m always fretting over them…
TORIYAMA: I had trouble drawing fights, too. But sometimes drawing them with a rough touch can produce good results, oddly enough. That’s why it’s important to cut corners (laughs). That’ll be perfect!
The first two volumes included short bonus chapters that were originally printed in the 2015 and 2016 Jump Victory Carnival attendee books. Though this year’s event did in fact come with a third bonus chapter, it does not appear here in this fourth collected volume.
The volume ends with a two-page spread teasing the “Universe Survival arc” manga adaptation, as well as a new image of Goku (itself an homage to Akira Toriyama’s original illustration for the 1986 #25 issue of Weekly Shōnen Jump in Japan).
The fourth volume is available for purchase via CDJapan and Amazon Japan. Unlike prior volumes, a digital release was made available the same day as the print release.
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 last month 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.
One of the most repeated “facts” in Dragon Ball fandom — perhaps only rivaled by “Akira Toriyama intended to end the series with Freeza” — is that Toriyama “forgot” about the character Lunch. Introduced in the second story arc and sticking around through the 23rd Tenka’ichi Budōkai, Lunch was an integral part of the core group that is effectively written-out of the story with no dramatic fanfare.
Wait: was she written out, or did the author actually forget about her? Turns out it’s a little of both, but likely not in the way that you think!
In conjunction with our recent translation of Daizenshuu 7’s “Secret Stories of the Dragon Ball Characters” Q&A with Akira Toriyama, check out the most recent addition to the “Characters” page of our “Rumor Guide“, detailing in-depth how Toriyama simultaneously forgot and never-actually-did-truly-forget about Lunch!
The seventh Daizenshuu — the “Large Encyclopedia” — contains a wealth of both in- and out-of-universe information about the Dragon Ball franchise. From a tour of the cosmos to the special attack dictionary, it has long been held as one of the most comprehensive sources available from the original rights-holders.
Often overlooked is a short, single-page Q&A session with original author Akira Toriyama entitled “Secret Stories of the Dragon Ball Characters“. In it, Toriyama details a few quick tidbits: Lunch’s disappearance, the origins of No. 17 and 18 as delinquents, the fate of the Pilaf gang, Kuririn and No. 18’s relationship, and differences between the different timelines’ respective Trunkses.
