The conclusion of Dragon Ball Z in 1996 reportedly caused significant apprehension within Japan's media industry. Key stakeholders expressed concerns that the absence of the highly successful franchise would lead to severe and prolonged economic repercussions for both their companies and the nation. Major corporations, such as Bandai and Toei Animation, were particularly reliant on Dragon Ball's profitability.
Despite this, Akira Toriyama, the series' creator, chose not to continue the main storyline. Consequently, Toei Animation proceeded to produce Dragon Ball GT, albeit with only limited involvement from Toriyama himself, to not cause economic problems in Japan according to Kazuhiko Torishima and Toyotaro in Japan Expo 2025.
>Torishima: I didn’t take part in Dragon Ball GT, so I can’t give my opinion. DBGT came out when Dragon Ball ended. Still, many stakeholders were involved in Dragon Ball, such as TV networks, Bandai Namco, and various other partner companies, and we had reached a point where if Dragon Ball hadn’t continued even just a bit longer, we would have had economic problems. The easiest thing would have been to ask Akira Toriyama to continue his manga, but he had just finished it, so there was no chance he would agree to continue even a little more. The only thing we could ask of him was to create the characters and give us a simple storyline. As a result, DBGT came about because a team was told: “Here, deal with this yourselves.”
Why does this guy keep saying stupid shit lately?
>>281174141Who knows, it's not like he was the editor for the good parts of the series and keeps being mad at series that became more popular.
He says that then whines about kimetsu despite literally saving the japanese media industry and movie theaters during covid.
>>281174074 (OP)Despite super being trash, people still want for DB. Even the original manga ended on an open note, Goku just went on another adventure. His story is neverending. It’s also simple enough to milk to death. Goku just loves to fight strong guys
Durr hurr I post about about this washed up has been editor because I am a retarded dbspic with down syndrome also trans
>>281174203>people still want for DBBasically every single series does worse than the previous one.
It's only kept alive for unrelated shit, not because its manga/anime does well.
For the full interview at Japan Expo 2025.
>Question 1: Question for all three of you: what is your greatest artistic influence, whether in manga or elsewhere?
>Toyotaro: As you can probably guess, Dragon Ball had a huge influence on me as a child. But if we take Dragon Ball out of the equation, it would be all the manga I read when I was a kid like Kenshin, Vagabond, Slam Dunk, and all the manga from that era.
>However, if a mangaka only reads manga, that’s not enough. The manga world is really very narrow. I’ve also always been passionate about cinema and other forms of media. I was a huge Star Wars fan as a kid, and I watched a lot of Hollywood films, like the Back to the Future trilogy.
>Torishima: Before joining Shueisha, I had never read manga, so I had no influence coming from manga. I was very passionate about novels, and I always loved French literature. I read all of Stendhal. I even once took a three-month break at university to read and study Proust, especially In Search of Lost Time. So I think I have a very strong compatibility with France. I also love cinema, so let me give you my TOP 3: 1.) The Godfather (1972) by Francis Ford Coppola. 2.) Roman Holiday (1953) and my ideal woman is precisely Audrey Hepburn with short hair like in that movie. 3.) 2001: A Space Odyssey (1968). I think it's a fantastic work that actually does a good job of predicting what awaits us with AI.
>Nakatsuru: Like Toyotaro, I was very influenced by manga and anime when I was little. The body of work that left the biggest impression on me were the works of Leiji Matsumoto, not one in particular, but his entire interconnected universe. As a result, it was through Leiji Matsumoto’s works that I became interested in becoming an animator. And it was by watching what are now considered classics, like Miyazaki’s Castle in the Sky, that I became interested in the animation profession.
>Back then, I worked on a few animation projects related to Leiji Matsumoto, but that wasn’t enough for me to really establish myself as a professional while staying only in Matsumoto’s universe. It was only after becoming a senior animator that I encountered Toriyama’s work, and artistically, it’s undoubtedly Toriyama who has influenced me the most. Even today, I still work under that influence.
>Question 2: In 1984, when Dragon Ball was launched, the population of boys aged 5 to 15 in Japan represented 8.22% of the total population. Today, in 2024 (40 years later), it’s only 4.2%. So the number of young boys (shonen in Japanese) has halved in 40 years. Given that, there are fewer and fewer shonen manga.
>How can shonen manga reinvent itself in the face of this shrinking readership?
>Torishima: It’s true that the demographic problem is a concern for the entire Japanese publishing industry. That said, there will always be children. We must continue to support those children who have stuck with us until now.
>The problem is that Shonen Jump and the rest of the professional magazines no longer make manga for children. And because of that, I think the future of manga is grim. There are more and more ways to read manga online, except access is limited for children, since they don’t have smartphones or credit cards.
>What’s more, when we read digital manga, the algorithm ensures we only read the same type of work. So we’ve reached a point where all manga have the same price, the same artistic direction, the same taste: we end up with nothing but Starbucks manga or McDonald’s manga.
>Japanese manga has lost sight of the idea of creating stories with an individual artistic identity. And I think that at Shueisha, if there are magazine editors who see the data but ignore it, and disobey the editorial direction that people like me set in the past, then the situation becomes very risky.
Torishima is basically taking a sharp jab at the industrial, algorithm-driven homogenization of manga, and the failure to cater to kids: the audience that shonen was originally made for.
>>281174074 (OP)100% this guy thinks all of dragon ball success is due to him
>>281174618Nope. Nobody cares
>Question 3: Everything you just said, is it about the manga world in general (including adult manga), or specifically about manga for children/teenagers?
>Torishima: What I’m saying concerns manga for all audiences, but I’m particularly thinking about manga aimed at children, because right now there’s a real problem: kids no longer read manga. Editors today claim that children can no longer follow stories broken down into panels. And I tell them: it’s not that, the paneling in your manga just isn’t good, and it’s hard to follow.
>For example, Toriyama’s manga had incredibly clear visual flow. If you take One Piece, elementary school kids should be able to read it because of how it’s broken down into panels.
>It’s not the mangakas’ fault, it’s the tanto (editorial supervisors), who don’t have strong enough technical knowledge about manga readability. One of the causes is that publishers hire people who have only ever read manga.
>If you don’t recruit people with diverse tastes, like in cinema or literature, you end up with editors whose worldview keeps shrinking as time goes on.
>For example: if you only watch TV news, you won’t know about zooms and wide shots. But if you study real cinema, you’ll have access to a whole range of camera techniques.
>Osamu Tezuka, for instance, was passionate about cinema, he knew how to use angles and would often show his characters from above. That’s why I think today’s mangaka are technically weaker than Osamu Tezuka.
>Question 4: To go along with what you’re saying: Takehiko Inoue, in the film Slam Dunk The First, explained the difference he had to deal with in staging between cinema and manga. He said he had to "relearn" his manga and rearrange the panels. Is that what you’re talking about?
>Torishima: I can just tell you that I was bored watching that movie. The best moments were not the best moments he had drawn. He pushed the main characters from the manga aside. I saw that film as something made for original Slam Dunk fans, but it was absolutely not constructed to create new fans of the series, and that really frustrated me.
>>281175143Torishima is right
Inoue was a fag that decided to make the movie about Ryota instead of Sakuragi for some reason when all the best moments were with him
I loved when it was faithful to the manga but all the original scenes were fucking boring
>>281175372And yet, the movie made a killing and made a bunch of people buy SD again.
So he was wrong.
>Question 5: Mr. Torishima, we recently discovered the manga The Poe Clan and Kaze to Ki no Uta. You said those were the first manga you found interesting. Could you tell us what you found intriguing about those titles?
>Torishima: I had never read manga in my life, and when I joined Shueisha, they told me to look at old issues of Shonen Jump. I read tons of them and they were all terrible. My superior asked me to rank the manga from 1 to 10 and give my comments, then to read the readers’ weekly survey results. And that was a shock. The readers’ rankings were the complete opposite of mine. I seriously considered quitting the company and looking at job offers elsewhere.
>Next to the Shueisha building, there was an archive building, and since I was bored in the editorial office, I would go there to take naps. I realized that since it was an archive, it was full of manga, so I decided to read everything. The first manga I found interesting was a shojo. I don’t know if you know this, but there’s a group called the “Year 24 Group” (i.e., mangaka who began their careers around 1969), and that year saw the emergence of a new tone in manga, often more adult and subversive.
>Keiko Takemiya (Kaze to Ki no Uta), who came up during that time. There were works by Keiko Takemiya and others that tackled themes never seen in manga back then, like the feeling of romantic love between children, etc. I was very impressed to see these deeply humanistic themes. This was over 50 years ago, and it was truly surprising back then. The problem is that in Shonen Jump, even now, there are manga that feel horribly outdated.
>But thanks to that experience of reading through the archives, I discovered that interesting manga existed, and most importantly, that some creators had the tools to make them. And it was while searching for someone capable of making truly interesting manga that I met Akira Toriyama. These are the authors who gave me the clues on how to make manga evolve.
/a/‘s worship of this guy and treating his opinion as infallible is pathetic
>>281175605Its just one dbspic bumping his shit thread
>Question 6: Akira Toriyama is credited as the writer of Dragon Ball Super. Has his passing changed the way you approach creating manga, and if so, in what way?
>Toyotaro: You should know that we had two working methods:
>In one approach, I would write the story for Dragon Ball Super, then send it to Toriyama, who would review it and let me know if it was OK or not.
>And in the opposite case, sometimes Toriyama would write the story, then send it to me. I would check if I could integrate it, then I would send back my interpretation, and finally, he would respond with whether it was OK or not.
>As you can see, a good portion of the story already came from me. So I don’t think it’s impossible for me to continue the story. But I also don’t think it will be something simple or easy.
>Question 7: Mr. Nakatsuru, you became character designer for Dragon Ball Z by succeeding Minoru Maeda during the Majin Buu arc. Did that challenge cause you any difficulties at the time?
>Nakatsuru: My first impression was wondering whether I could live up to expectations. But well, before doing the Majin Buu arc, I had already created some guest characters in a few episodes, so I had already worked a bit as Minoru Maeda’s assistant, and I understood the workload. It’s just that it wasn’t easy taking on that level of responsibility. It wasn’t simple, but it had a challenge to it and when the opportunity came, I couldn’t refuse.
>Torishima: It’s worth remembering that Nakatsuru had already worked on Toriyama’s projects since Dr. Slump. He was someone very skilled, but an animator is someone who has to pick up another person’s drawing style and adapt it to animation. From my editorial point of view, Maeda’s reproduction rate of Toriyama’s style was 80%. It was very good, but something was missing.
>By contrast, Nakatsuru’s reproduction rate is 95%. There are even scenes where people say: “Wait, wasn’t this drawn by Toriyama himself?” It’s even happened that Akira Toriyama saw some of Nakatsuru’s drawings and said, “But I never drew that!” So the only animator that Toriyama ever truly recognized was Nakatsuru.
>Nakatsuru: Thank you. I’m really honored by that comment. But I should say that during the Majin Buu arc, we had a whole army of animators who were already veterans in Toriyama’s world.
>>281174141He's right though
If that's the case then why the hell did they put both the anime and manga on purgatory?
3lm1j4
md5: af1093ba509f3ae3bf39f49f16fc3216
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>>281174074 (OP)Stop putting this faggot boomer on my feed. DB is trash. Imagine liking a manga where the MC is thoughtless and a literal monkey.
>Torishima: The Dragon Ball manga had a very strong momentum, and the animation team was just as powerful, already used to Toriyama’s style, so when reading the manga, they could reproduce it perfectly. That gives the impression that every animated frame was hard to do, but that’s only because of the huge team effort led by Mr. Nakatsuru that we got the result we all know.
>We don’t talk enough about the animation team even in Bandai Namco’s video games, those games faithfully reproduce Akira Toriyama’s work, and that love for his style creates a kind of beautiful trinity between the games that come out.
dbgt
md5: 22916f05a3f5b70cc02c8d2028c95cfe
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>Question 8: Mr. Toyotaro, with Dragon Ball Super, how do you view Dragon Ball GT? Are there any elements from DBGT that inspire you or that you’d want to officially integrate?
>Torishima: I didn’t participate in Dragon Ball GT, so I can’t really give my opinion. DBGT happened right after Dragon Ball ended. But there were a lot of stakeholders involved: TV networks, Bandai Namco, various other partner companies and we had reached a point where, if Dragon Ball didn’t continue just a bit longer, we’d have had economic problems.
>The simplest thing would have been to ask Akira Toriyama to continue the manga, but he had just finished it. There was no chance he would agree to keep going. The only thing we could ask of him was to create the characters and give us a basic plot. After that, DBGT happened because a team was basically told: “Here, deal with this yourselves.”
>Toyotaro: Story-wise, DBGT takes place beyond what’s happening in Dragon Ball Super. I think there aren’t many GT elements that made it into Super, but you do see some in Dragon Ball DAIMA. I don’t think any of my ideas for Dragon Ball Super were really influenced by GT.
>That said, some visual elements from GT did get reused in DBS. Visually speaking, DBGT was also the work of Nakatsuru and his team, and it really had that strong fidelity to Toriyama’s graphic style, which inspired me.
>Question 9: What role do new technologies (CGI, AI, etc.) play in the current and future production of Dragon Ball series and manga?
>Torishima: I don’t know much about AI, but I’ll tell you what I think. If we talk about the use of screen tones in manga: computers made it much easier to use tones, and that’s affected how manga are made. As a result, more and more authors fill their pages with increasingly complex and detailed tones. The result? You get pages that look polished and perfect... but all the pages from every author start to look the same.
>Toriyama, on the other hand, didn’t have money. He lived in a small town, couldn’t afford tones, so he just made do without. He designed his visuals so that no tones were needed. That’s how he created manga that were visually simple and easy to read.
>I'm not saying new technology is bad. The problem is when people don’t use their heads to think about how to apply it, then you become a tool used by the tool.
>For me, what matters most in manga is the character. It's crucial to focus on character expression. And even if AI can replicate a character, there are limits to what it can express. For example, AI might replicate a Ghibli-style character, but it can’t draw the eyes the way Miyazaki does.
>Toyotaro: Coming back to Dragon Ball Super: SUPER HERO, Toriyama’s characters were designed in such a way that they could be seen clearly from any angle. So I think adapting them in CGI worked well: SUPER HERO was a very solid experience in animation.
>That said, I don’t think we should fully commit to that path. We need to diversify our production methods. The issue with CGI is that it might make Toriyama-sensei’s linework too stiff, even though his art style is very flexible. Another concern is that when everything is generated digitally, the backgrounds might become too detailed, which could end up clashing with Toriyama’s simpler art style.
db daima
md5: 657c49a3c734322a78959100680e1ec6
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>Torishima: To sum up Toyotaro’s point: it’s like trying to make Gekiga with a ruler. Toriyama drew very freely by hand, there was always lightness and fluidity in his linework. I don’t think CGI is made for his style.
>(Editor’s Note): Gekiga is a manga style from the 1950s-60s: more realistic, expressive, and emotional. Using a cold, rigid tool like a ruler for something like Gekiga is contradictory. Torishima once said: “You want to create something alive and expressive, but you approach it like a technician, not like an artist.”
>Nakatsuru: While working on Dragon Ball DAIMA, I realized that traditional animation is very labor-intensive: it takes a lot of time to produce. So if we can find the right way to use it, I believe CGI and even AI, can help us work faster, and develop more polished animations that could appeal to a broader audience. That’s my hope.
>Like Torishima said, the key is thinking how to use the tool well, so you’re not enslaved by it.
>Toyotaro: I already tried asking ChatGPT for story ideas, but it was a waste of time. (laughs)
>(Editor’s Note): That was obviously a joke from Toyotaro. Please don’t twist his words on social media.
>Question 10: In 2020, during an interview with Hiroshi Matsuyama, you said there was “nothing to learn from Dragon Ball.” That statement sparked a lot of conversation, could you explain what you meant?
>Torishima: That phrase sparked a lot of talk? How so?
>(Interviewer): People think, on the contrary, that there are values to take from it like kindness, courage, etc.
>Torishima: Toriyama and I both love Tom and Jerry, the American cartoon. It’s very simple: the cat chases the mouse, that’s it. That’s the whole story. You watch it, you laugh, but in the end, you don’t retain anything, you don’t learn anything. In animation, the core principle is “characters + movement.” In a manga, it’s the same: you read it, it’s fun. But in the end, nothing sticks.
>Earlier, I explained that with Toriyama, we were searching for what made something interesting, and eventually we found our answer: “You have to read for fun, and in the end, retain nothing.”
>Torishima: Character creation is actually a very simple thing. Even a child can do it. Around the world, there are lots of manga with complicated themes but not very simple ideas. They don’t make you want to read them.
>Another example: I once spoke with someone from a publishing house in Germany. He told me that Attack on Titan made a lot of noise, but in the end, the paper manga didn’t sell well. The thing is, once the anime ended, the manga no longer sold. But if you look at Dragon Ball and Naruto, they keep selling even after the anime ended. So what’s the difference?
>The difference is that in Dragon Ball or Naruto, you get a shonen style where the reader sees the story through the character’s eyes and discovers the world with them. It’s not the plot that matters, it’s the idea that the reader is swept away by the character.
>Thanks to this simple character-driven construction, you can appeal to both kids and adults. “You drink Coke or Fanta because it tastes good, but when you’re really thirsty, you drink water.”
dbaf
md5: ea918e572481f16ba3648f0b6b94da23
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>Question 11: You started by creating fan-manga before becoming the official mangaka of Dragon Ball Super. What advice would you give to someone who wants to make their own manga?
>Toyotaro: I don’t think I have the right to brag about it, but I was a big fan of Toriyama’s works, and I kind of appropriated them without permission to tell my own stories using Dragon Ball, but with my own perspective and original drawings.
>I didn’t become a mangaka in order to draw Dragon Ball; I became a mangaka because I wanted to draw Dragon Ball. So I don’t think I’m in a position to give lessons to someone who wants to become a mangaka.
>But if someone really wants to draw Dragon Ball, it might be interesting to take the same approach: create your own version, then present it to Shueisha and see what happens.
>Torishima: When young people ask me at conventions how to become a mangaka, I always tell them they need to respect three things:
>Study Japanese and literature seriously. You need to master words so you can use them well in the dialogue inside speech bubbles. A story is built around that kind of dialogue. You need to have a sense of style in writing dialogue and the vocabulary to do it well. As I said earlier, I find the literary level of most current manga quite weak.
>Make lots of friends. Humans are connected to each other, they know and affect one another. Drawing a manga is about drawing the world.
>Show resilience. When a mangaka is staring at a blank page, they have to create a whole universe, and that’s a task that takes massive energy.
>If you manage to bring those three things together, the path to becoming a mangaka becomes accessible.
>Nakatsuru: When I met Torishima, he told me that if the opportunity ever came up, it might be interesting to make a manga. So I got the chance to do a sequel to Dr. Slump in V-Jump (under Toriyama's supervision). What I took away from that experience is this: the job of a mangaka is incredibly hard.
>Torishima: On one of our flights, we read a long article about Toriyama. Toriyama said to Nakatsuru: “You’re really good.” And Nakatsuru replied: “Why?”
Because in the manga The Return of Dr. Slump, Nakatsuru used angles that Toriyama never used. Toriyama once said: “A mangaka always draws the angles he knows how to draw. Doing any other kind is pure torture.”
>Mangaka often draw characters seen from the front, rarely from the back. But in animation, the camera moves in all directions, so you frequently see the character from behind or from dynamic angles. Nakatsuru is capable of drawing all sorts of angles that Toriyama avoided.
>If you look at a manga by Nakatsuru, there are far more camera-like angles than in Toriyama’s. And that’s where you really see the difference between an animator and a mangaka.
>>281176193Imagine liking a manga where the MC is a crying cuckold. Couldn't be me.
>>281177342Retarded dbspic out of his favela
>Question 12: The Dragon Ball license has evolved enormously. Some even compare it to franchises like Star Wars, with all their pros and cons. How do you see the future of Dragon Ball as a license?
>Torishima: You're asking us? Unfortunately, that's a question better directed at Shueisha, Toei Animation, or the company that manages Mr. Toriyama’s rights.
>From the start, Dragon Ball was a story that Toriyama and I created together, but that’s only one side of the coin. The other side is the fans. We built and expanded the Dragon Ball world thanks to the support of fans.
>If the license is going to grow by listening to the fans’ voices, then everything should be fine. But if the idea is to expand the license purely for profit, then everything is going to collapse and I hope it doesn’t head in that direction.
>>281177677Not reading this either
>Question 13: What do you think of how Trunks and Goten have been handled in Dragon Ball Super? They're often seen as comic relief now, even though in the Buu arc they felt like they were being groomed to carry the torch.
>Torishima: (He declines to comment. He waves both hands toward Toyotaro to signal that he won’t answer, most likely because the development of Goten and Trunks is now Toyotaro’s responsibility in DBS.)
>Toyotaro: In the Dragon Ball Super manga, I did three chapters focused on Trunks’ development. Trunks is a character I really like, and I was honestly very happy to be able to write chapters where he was the main character. I’d love to do more.
>However, in those three chapters, I feel like I didn’t succeed in portraying Goten well, and I’d really like the chance to develop him better in the future.
>Nakatsuru: As an animator, I’m not involved in story construction, so I never really know how characters will evolve in the series.
>Question 14: There’s a lot of debate about what is considered canon or not. Based on your expertise, how does each of you view the concept of canon? Especially now that this question is even more relevant with Dragon Ball DAIMA.
>(Editor's Note): Torishima didn’t immediately understand the word “canon” and asked for the question to be rephrased. He understood better when we talked about the “chronology of events.” He laughed once he finally got what the question was about.
>Torishima: I’ll just answer from my own point of view. First, you should know that Mr. Toriyama was kind of messy. He often forgot the continuity of the characters he had created. Second, he was someone who constantly thought about how to entertain fans. So, he made stories without worrying about consistency. In conclusion, there is no continuity or timeline, period.
>Toyotaro: I love almost all the Dragon Ball works out there. For me, almost everything is canon in some way, just because I’ve seen all of it. That said, it’s not really my role to determine what is canon or what isn’t. I think it’s better if each fan decides for themselves what’s canon in their own version of the story. And I think that’s the best way to go. For example, Dragon Ball Online is a work I was involved with in the past, and for me, it’s definitely part of canon.
>(Editor's Note): Toyotaro uses the Japanese term "canon" (カノン, kanon).
>Nakatsuru: I’m not really sure either...
"Bejita's canon love interest is Giselle from Bleach. If you watched Dragon Ball Z and didn't understand that it's probably because you're an idiot." - Kazuhiko Torishima
>Question 15: Question for all three of you, what was your working relationship with Akira Toriyama like, and do you have any anecdotes to share?
>Nakatsuru: It’s been about 20 years since I last saw Toriyama. For Dragon Ball DAIMA, I had some email exchanges with him about character design. I’d send him sketches, and he would send back corrections, or ask me to redo certain things.
>We didn’t talk much beyond that, but I was glad because it had been a long time since that last happened. Akira Toriyama passed away during the production of Dragon Ball DAIMA, and I worked really hard to honor his final instructions and represent his style as closely as possible in the project.
>Torishima: Toriyama hated working, but he loved drawing. Being a mangaka was work for him, so he always wanted to finish quickly so he could go have fun.
>For example, in the Tenkaichi Budokai, drawing the big arena building was such a chore that he had Krillin destroy it just so he wouldn’t have to draw it again. Toriyama also didn’t like inking his work (because it’s time-consuming), which is why Super Saiyan hair is white in the manga, it saved him from coloring it black.
>He was a true artist in the sense that he wanted to do as little as possible, and as a result, he was incredibly fast. He once said his weekly Dragon Ball work only took one day to finish. The rest of the week he spent having fun.
>One time, Toriyama spent a huge amount of money repainting his car, a Jaguar Mark 2. He tried every color combination imaginable. His friend, Masakazu Katsura, helped him by drawing 4,000-5,000 color mockups of the car.
>And the funniest part? When asked what color he chose in the end, he said: “In the end, I went with the first color I picked. It was the right one.” That’s the kind of thing Toriyama would do once he finished his work. He really had two sides to him.
>Question 16: Who are the artists who created the harmony cells?
>(Editor's Note): In animation, harmony cells are cels painted separately to add special overlay effects, sometimes in a watercolor style to create lighting atmospheres, glows, or subtle gradients that aren’t painted directly on the main cels.
>Nakatsuru: I think the names of the people who did the backgrounds should be listed in the end credits of each episode. The main drawings are done by the people listed in the credits—especially the art director for each episode, which you can look up episode by episode.
>I know the concept of harmony, where a drawing is transformed into more of a painted element, like a background. So if you're looking for who did the harmony cells, you’ll want to check the names listed under background artists because those were the people responsible for them. But I don’t recall harmony cells being used that often in DBZ, and I don’t remember any specific names of who did them.
>Torishima: Oh, I just learned what harmony even is!
>Nakatsuru: I don’t know the names of the people, but I can assure you they were from the background and art direction teams, so you can look into the credits from that angle.
END.
Also, for closer... Here's Torishima, Toyotaro and Nakatsuru doing the Kamehameha.
>>281174360>I always loved French literature. I read all of Stendhal. I even once took a three-month break at university to read and study Proust, especially In Search of Lost Time.>my ideal woman is precisely Audrey HepburnBased
>>281175424Because of nostalgia, that doesn't mean the movie was necessarily good
Especially when most of the movie wasn't scenes from the manga and it follows a side character
>>281174074 (OP)So when one piece ends japan is going to sink?
>>281174074 (OP)What will they do when they run out of hair colors?
>>281174650>00% this guy thinks all of dragon ball success is due to himIt practically was, yeah.
Without Torishima, Toriyama wouldn't even have a career in manga, and Torishima forced him to keep making manga even though he had zero interest in it back in his one-shot competition days.
Torishima is also pretty responsible for a lot of what people like about Dragon Ball and is why the anime became far more successful with Dragon Ball Z (he's the one who pushed for it to take more cues from Saint Seiya's anime). Not to say Toriyama isn't good, but without Torishima, most of what people like about DB wouldn't be a thing.
