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Weekly Shōnen Jump
Cover of the first issue of Weekly Shōnen Jump, released in 1968
Editor-in-ChiefYū Saitō[1]
Former editorsTadashi Nagano
Kazuhiko Torishima
Hisashi Sasaki
CategoriesShōnen manga[2][3]
FrequencyBiweekly (1968–1969)
Weekly (1969–present)
Circulation1,047,500
(April–June 2025)[4]
First issueAugust 1, 1968; 57 years ago (1968-08-01)
CompanyShueisha
CountryJapan
Based inTokyo
LanguageJapanese
WebsiteOfficial website Edit this at Wikidata

Weekly Shōnen Jump (Japanese: 週刊少年ジャンプ, Hepburn: Shūkan Shōnen Janpu; stylized in English as WEEKLY JUMP) is a weekly shōnen manga anthology published in Japan by Shueisha under the Jump line of magazines. The manga series within the magazine consist of many action scenes and a fair amount of comedy. Chapters of the series that run in Weekly Shōnen Jump are collected and published in tankōbon volumes under the Jump Comics imprint every two to three months. It is one of the longest-running manga magazines, with the first issue being released with a cover date of August 1, 1968.

The magazine has sold over 7.5 billion copies since 1968, making it the best-selling comic/manga magazine, ahead of competitors such as Weekly Shōnen Magazine and Weekly Shōnen Sunday. The mid-1980s to the mid-1990s represents the era when the magazine's circulation was at its highest, 6.53 million copies per week, with a total readership of 18 million people in Japan. Throughout 2021, it had an average circulation of over 1.3 million copies per week. Many of the best-selling manga series—including One Piece, Dragon Ball, Naruto, Demon Slayer: Kimetsu no Yaiba, Slam Dunk, and KochiKame: Tokyo Beat Cops, all of which are among the top ten best-selling manga of all time—originate from Weekly Shōnen Jump.

Weekly Shōnen Jump has sister magazines such as Jump SQ, V Jump, Saikyō Jump, and digital counterpart Shōnen Jump+ which boasts its own exclusive titles. The magazine has also had several international counterparts, including the North American Weekly Shonen Jump. It also spawned a crossover media franchise including anime and video games (since Famicom Jump) which bring together various Shōnen Jump characters.

History

[edit]
First issue of Bessatsu Shōnen Jump which replaced Shōnen Book

Origins (1960s–1970s)

[edit]

Weekly Shōnen Jump was launched by Shueisha on July 11, 1968,[5][6][a] to compete with the already-successful Weekly Shōnen Magazine and Weekly Shōnen Sunday.[8] Weekly Shōnen Jump's sister publication was a manga magazine called Shōnen Book, which was originally a male version of the short-lived shōjo manga anthology Shōjo Book.[9] Prior to issue 20, Weekly Shōnen Jump was originally called simply Shōnen Jump as it was originally a bi-weekly magazine. In 1969, Shōnen Book ceased publication[10] at which time Shōnen Jump became a weekly magazine[10] and a new monthly magazine called Bessatsu Shōnen Jump was made to take Shōnen Book's place. This magazine was later rebranded as Monthly Shōnen Jump before eventually being discontinued and replaced by Jump SQ.

Golden age (1980s–1990s)

[edit]

Hiroki Goto was appointed chief editor in 1986 and remained in the position until 1993. His tenure saw significant increases in circulation, and the serialization of numerous popular series. When asked about the period, Goto stated: "We only tried to create manga that everybody can enjoy. There were no specific rules. Idol and tabloid magazines dominated in the Media & Entertainment industry at that time and we aimed to stand out from the crowd by using only manga as our weapon."[11] Famicom Jump: Hero Retsuden, released in 1988 for the Family Computer was produced to commemorate the magazine's 20th anniversary. It was followed by a sequel: Famicom Jump II: Saikyō no Shichinin in 1991, also for the Family Computer. Shōnen Jump's circulation continued to increase year on year until 1995, peaking at 6.53 million copies. By 1998, circulation had dropped to 4.15 million copies, a decline in part ascribed to the conclusion of popular manga series Dragon Ball and Slam Dunk.[12][13] The magazine peaked with a total readership of 18 million people in Japan during the early 1990s.[14]

Declining circulation (2000–2013)

[edit]

Circulation for the magazine continued to decline through the early 2000s, before reaching some stability around 2005, well below its earlier peak.[12] In 2000, two more games were created for the purpose of commemorating the magazine's anniversaries. A crossover fighting game titled Jump Super Stars was released for the Nintendo DS in 2005. It was followed by Jump Ultimate Stars in 2006. Due to the 2011 Tōhoku earthquake and tsunami, the shipment of the 15th issue of 2011 was delayed in some areas of Japan. In response, Shueisha published the series included in that issue for free on its website from March 23 to April 27.[15]

On July 11, 2013, the Namco Bandai Group opened an amusement park themed around Weekly Shōnen Jump series. Titled J-World Tokyo, it is located on the third floor of the Sunshine City World Import Mart Building in Ikebukuro and is 1.52 acres.[16][17] In celebration of the magazine's 45th anniversary in 2013, Shueisha began a contest where anyone can submit manga in three different languages, Japanese, English and Chinese. Judged by the magazine's editorial department, four awards will be given, a grand prize and one for each language, each including 500,000 yen (about US$4,900) and guaranteed publication in either Jump, its special editions, North American edition, China's OK! Comic, or Taiwan's Formosa Youth.[18]

Transition to digital (2013–present)

[edit]
Bookshelves at the Minamiuonuma City Library, featuring issues of Weekly Shōnen Jump (2018)

A mobile phone app titled "Jump Live" was launched in August 2013, it features exclusive content from the artists whose series run in Weekly Shōnen Jump.[19] On September 22, 2014, the free Shōnen Jump+ (少年ジャンプ+, Shōnen Janpu Purasu; abbreviated J+) mobile app and website was launched in Japan. It sells digital versions of the Weekly Shōnen Jump magazine, simultaneous with its print release, and tankōbon volumes of individual Jump series past and present. However, it also has large samples of the manga that can be read for free.[20] There are also series that are serialized exclusively on the app, such as Marvel × Shōnen Jump+ Super Collaboration; unlike those in Weekly Shōnen Jump, these series may be aimed at adult men or women.[21] These exclusive series are later published in print tankōbon volumes under the Jump Comics+ imprint. In 2019, the Shōnen Jump+ website and app had about 2.4 million active users.[22] As of January 2020, the app had been downloaded more than 13 million times.[22]

As the magazine shifted towards digital provision, print circulation once again began to decline. By 2017, print circulation was down to under two million, less than a third of its peak during the golden age.[23] This decline follows similar trends seen by other magazines in the sector.[24]

A new crossover game, J-Stars Victory Vs., was released in 2014 for the PlayStation 3 and PlayStation Vita to commemorate Jump's 45 anniversary. In June 2018, a limited 50th Anniversary Shōnen Jump Edition of the Famicom Mini (NES Classic Edition) game console was released in Japan. It sold 110,000 units in two days.[25]

On January 28, 2019, Shueisha launched the global English-language version of Shōnen Jump+, titled Manga Plus. It is freely available in every country except China and South Korea, which have their own separate services. A Spanish-language version was launched in February 2019, and has a different library of content.[20] Like the Japanese app, it has large samples of manga that can be read for free including all the current titles of Weekly Shōnen Jump, a sizeable number of titles from Shōnen Jump+ and some titles from Jump Square. However, unlike the Japanese version, the latest chapters of current Weekly Shōnen Jump manga are made available free for a limited-time and it does not sell content.

Newcomer Awards

[edit]
Main articles: Tezuka Award and Akatsuka Award

Weekly Shōnen Jump, in association with parent company Shueisha, holds annual competitions for new or up and coming manga artists to create one-shot stories. The best are put to a panel of judges (including manga artists past and present) where the best are given a special award for the best of these new series. The Tezuka Award, named for manga pioneer Osamu Tezuka, is given for all different styles of stories. The Akatsuka Award, named for gag manga pioneer Fujio Akatsuka, is a similar competition for comedy and gag manga. Many Weekly Shōnen Jump manga artists have gotten their start either winning or being acknowledged by these competitions.

Associated items

[edit]

WSJ is also the center of the Shueisha's branding of its main manga products due to the popularity and recognition of the series and characters published in it. Although the manga are published both in the main magazine as well as in the Jump Comics imprint line of tankōbon, they also are republished in various other editions such as kanzenban and "Remixes" of the original work, usually publishing series older or previously established series. The Jump brand is also used on the tankōbon released of their manga series, related drama CDs, and at "Jump Festa", a festival showing off the people and products behind the Weekly Shōnen Jump manga titles.

Circulation and demographic

[edit]

Weekly Shōnen Jump is the bestselling manga magazine in Japan.[26] In 1982, Weekly Shōnen Jump had a circulation of 2.55 million. By 1995, circulation numbers swelled to 6.53 million. The magazine's former editor-in-chief Masahiko Ibaraki (2003–2008) stated this was due to the magazine including "hit titles such as Dragon Ball, Slam Dunk, and others." After hitting this peak, the circulation numbers continued to drop.[27][28] 1998's New Year's issue was the first time in 24 years that Weekly Shōnen Jump lost as the highest selling shōnen manga magazine (4.15 million copies sold), ceding to Weekly Shōnen Magazine (4.45 million).[29] It was not until 2007 that the magazine saw its first increase in 11 years, from 2.75 million to 2.78 million, an increase that Ibaraki credited to One Piece.[30]

By publishing shōnen manga, the magazine is targeted to young teenage males. However, Index Digital reported in 2005 that the favorite non-shōjo magazine of elementary and middle school-aged female readers is Weekly Shōnen Jump at 61.9%.[31] Strengthening it, Oricon conducted a poll among 2,933 female Japanese readers on their favorite manga magazines in 2007. Weekly Shōnen Jump was the number one answer, with One Piece, Death Note, and The Prince of Tennis cited as the reasons.[32] In 2009, it was reported that 62.9% of the magazine's readers were under the age of fourteen.[33] However, in 2019 Shueisha revealed that its largest demographic of 27.4% was aged 25 or older.[22]

Features

[edit]

Series

[edit]
Main article: List of series run in Weekly Shōnen Jump

There are currently 23 manga titles present in Weekly Shōnen Jump. Out of them, Burn the Witch's continuation is yet to be scheduled and Hunter × Hunter is published infrequently.

Series title Author(s) Premiered Ref.
Akane-banashi (あかね噺) Yuki Suenaga, Takamasa Moue February 2022 [34]
Blue Box (アオのハコ, Ao no Hako) Kouji Miura April 2021 [35]
Burn the Witch Tite Kubo August 2020[b] [38]
Gonron Egg (ゴンロン・エッグ, Gonron Eggu) Shuhei Tanizaki October 2025 [39]
Harukaze Mound (ハルカゼマウンド, Harukaze Maundo) Tōgo Gotō, Kento Matsuura June 2025 [40]
Hero Girl and Demon Lord Call It Quits (JK勇者と隠居魔王, Jēkē Yūsha to Inkyo Maō) Matsuri Hatsubina November 2025 [41]
Hima-Ten! (ひまてん！) Genki Ono July 2024 [42]
Hunter × Hunter Yoshihiro Togashi March 1998[c] [45]
Ichi the Witch (魔男のイチ, Madan no Ichi) Osamu Nishi, Shiro Usazaki September 2024 [46]
Jujutsu Kaisen Modulo (呪術廻戦≡（モジュロ）, Jujutsu Kaisen Mojuro) Gege Akutami, Yūji Iwasaki September 2025 [47]
Kagurabachi (カグラバチ) Takeru Hokazono September 2023 [48]
Me & Roboco (僕とロボコ, Boku to Roboko) Shuhei Miyazaki July 2020 [49]
Nue's Exorcist (鵺の陰陽師, Nue no Onmyōji) Kōta Kawae May 2023 [50]
One Piece Eiichiro Oda July 1997 [51]
Otr of the Flame (灯火のオテル, Tomoshibi no Oteru) Yuki Kawaguchi May 2025 [52]
RuriDragon (ルリドラゴン, Ruridoragon) Masaoki Shindo June 2022[d] [54]
Sakamoto Days Yuto Suzuki November 2020 [55]
Shinobi Undercover (しのびごと, Shinobigoto) Ippon Takegushi, Santa Mitarashi September 2024 [56]
Someone Hertz (さむわんへるつ, Samuwan Herutsu) Ei Yamano September 2025 [57]
The Elusive Samurai (逃げ上手の若君, Nige Jōzu no Wakagimi) Yusei Matsui January 2021 [58]
The Mage Next Door (隣の小副川, Tonari no Osoegawa) Hideaki Nabe November 2025 [59]
Ultimate Exorcist Kiyoshi (悪祓士のキヨシくん, Ekusoshisuto no Kiyoshi-kun) Shōichi Usui June 2024 [60]
Witch Watch (ウィッチウォッチ, Witchi Wotchi) Kenta Shinohara February 2021 [61]
[edit]

Jump Giga

[edit]

Jump Giga (ジャンプGIGA) is a special seasonal offshoot of Weekly Shōnen Jump launched on July 20, 2016.[62] Its original predecessor started in 1969 as a regular special issue of the bi-weekly Shōnen Jump. When Shōnen Jump became a weekly publication and was renamed Weekly Shōnen Jump in October of that same year, the special issue changed to a quarterly release and kept the shorter name.[63] In the mid-1980s, the magazine took on the Weekly Shōnen Jump name with each issue subtitled the Spring, Summer, Autumn, or Winter Special.

Beginning in 1996, it was published three times a year for Golden Week, Obon and New Years under the name Akamaru Jump (赤マルジャンプ, Akamaru Janpu) until April 30, 2010, when it was renamed Shōnen Jump Next! (少年ジャンプNEXT!).[63][64] Jump Next! has had several other past special versions:

  • Aomaru Jump (青マルジャンプ, Aomaru Janpu) was a single issue of Akamaru Jump.[65] One-shots that were featured in Aomaru Jump were Dead/Undead, Shōgai Oyaji Michi!, The Dream, Mieruhito, Yūtō ☆ Hōshi, and Fuku wa Jutsu.[66]
  • Jump the Revolution! (ジャンプ the REVOLUTION!) was a special edition of Akamaru Jump that was published in two issues in November 2005 and 2006. Jump the Revolution! contained one-shots of upcoming Weekly Shōnen Jump series and soon to be Jump SQ series.

In 2012 it returned to a quarterly schedule.[63] A second exclamation point was added to the title in March 2014, when it switched to a bi-monthly release.[67][68] After relaunching as Jump Giga, the magazine published four issues or "volumes" in 2016 and 2017,[69] six in 2018 and 2019 (three in summer and three in winter), and seems to have returned to a seasonal quarterly release since 2020.

Jump Giga features many amateur manga artists who get their one-shots published in the magazine. It also puts additional one-shot titles by professional manga artists, which promote upcoming series to be published in the main magazine. It has also featured the last chapters of cancelled series from Weekly Shōnen Jump, such as Enigma and Magico. It also features yonkoma of popular series such as Death Note and Naruto, as well as the pilot chapter of Bleach. Final epilogue chapters of The Disastrous Life of Saiki K. and Food Wars! Shokugeki no Soma were also featured,[70][71] while Gintama and Black Clover were transferred to allow for their completion.[72][73]

Series

[edit]

There is currently one manga title being serialized in Jump GIGA.

Series title Author(s) Premiered Ref.
Black Clover (ブラッククローバー, Burakku Kurōbā) Yūki Tabata December 2023[e] [74]

V Jump

[edit]
Main article: V Jump

V Jump (Vジャンプ, Bui Janpu) was originally an offshoot of the Weekly Shōnen Jump magazine in a special issue called Weekly Shōnen Jump Tokubetsu Henshū Zōkan V Jump (週刊少年ジャンプ特別編集増刊 V JUMP). The special issues lasted from 1992 through 1993. V Jump became its own independent anthology in 1993 for coverage of games, including video and card games.

Super Jump

[edit]
Main article: Super Jump

Super Jump (スーパージャンプ, Sūpā Janpu) was also originally an offshoot of the Weekly Shōnen Jump magazine in a special issue called Weekly Shōnen Jump Tokubetsu Henshū Zōkan Super Jump (週刊少年ジャンプ特別編集増刊 スーパージャンプ). The magazine was published from 1968 to 1988, when it became a separate anthology for seinen manga.

Jump VS

[edit]

Jump VS was a special issue of Weekly Shōnen Jump, published on March 22, 2013. The issue focused on "battle manga" and included 12 one-shots.[75][76]

International adaptations

[edit]

Manga titles from Weekly Shōnen Jump are translated into many foreign languages, and some even have their own separate version of the Weekly Shōnen Jump anthology. Weekly Shōnen Jump manga are also published in many other countries where the magazine itself is not published, like the United Kingdom, Argentina, Mexico, Spain, Australia, and South Korea.

Shonen Jump

[edit]
Main article: Shonen Jump (magazine)

Shonen Jump, published in North America by Viz Media, debuted in November 2002, with a January 2003 cover date. Though based on Weekly Shōnen Jump, the English language Shonen Jump is retooled for English readers and the American audience and is published monthly, instead of weekly.[77][78] It features serialized chapters from seven manga series, and articles on Japanese language and culture, manga, anime, video games, and figurines.[79] In conjunction with the magazine, Viz launched new imprints for releasing media related to the series presented in the magazine, and other shōnen works. This includes two new manga imprints, an anime DVD imprint, a fiction line for releasing light novels, a label for fan and data books, and a label for the release of art books.[80][81][82][83]

Prior to the magazine's launch, Viz launched an extensive marketing campaign to promote the magazine and help it succeed where other manga anthologies in North America have failed.[84] Shueisha purchased an equity interest in Viz to help fund the venture,[85] and Cartoon Network, Suncoast, and Diamond Distributors became promotional partners in the magazine.[84] The first issue required three printings to meet demand, with over 300,000 copies sold.[86] It was awarded the ICv2 "Comic Product of the Year" award in December 2002, and continued to enjoy high sales with a monthly circulation of 215,000 in 2008.[87][88] Shonen Jump was discontinued in April 2012 in favor of its digital successor, Weekly Shonen Jump. With it ending in an incomplete, but yet almost complete picture spine of the Naruto splash page of "Declaration of War" on the side of each said magazine.

Weekly Shonen Jump

[edit]
Main article: Weekly Shonen Jump (American magazine)

Weekly Shonen Jump, Viz Media's successor to the monthly print anthology Shonen Jump, was a North American digital shōnen manga anthology published simultaneously with the Japanese editions of Weekly Shōnen Jump, in part to combat the copyright violation of manga through bootleg scanlation services. It began serialization on January 30, 2012, as Weekly Shonen Jump Alpha with a lineup of six titles and new issues published online two weeks after Japanese release, but within a year had expanded to twelve ongoing series, and on January 21, 2013, it underwent a rebranding and transitioned to simultaneous publication with Japan.[89][90]

Banzai!

[edit]
Main article: Banzai! (magazine)

Banzai! is a German-language version of Weekly Shōnen Jump published by Carlsen Verlag that was published from 2001 through December 2005 before being canceled.[91] In addition to the Weekly Shōnen Jump manga series, the magazine also included original German language manga-influenced comics. The magazine competed as a sister publication to a shōjo anthology called Daisuki. It had a circulation of 140,000 copies.[92]

Remen Shaonian Top

[edit]
Cover of volume 187 of Remen Shaonian Top

Rèmén Shàonián Top (熱門少年TOP) is the former weekly Chinese-language version of Weekly Shōnen Jump, published in Taiwan by Da Ran Publishing. In the 1990s Da Ran went bankrupt and the magazine had to cease publication. Rèmén Shàonián Top serialized series such as Yu-Gi-Oh!, Tottemo! Luckyman, Hikaru no Go, and One Piece as well as several other domestic manhua.

Formosa Youth

[edit]

Formosa Youth (寶島少年 Báodǎo Shàonián) is the current[when?] weekly Chinese version of Weekly Shōnen Jump. Formosa Youth features various series from Weekly Shōnen Jump. The Formosa Youth magazine translates Weekly Shōnen Jump manga up to date. A sister publication of Formosa Youth is Dragon Youth Comic (龍少年 Lóng Shàonián), which specializes in domestic manhua. In 1977, the Tong Li company was created and founded by Fang Wan-Nan which created bootlegs, this ended in 1992.[93] A law in Taiwan restricted the act of bootlegging all manga.[93] During 1992, Tong Li created many manga and manhua magazines, New Youth Bulletin, Youth Comic, Margaret Girl, Dragon Youth Comic, and Formosa Youth.[94] Some series like One Piece and Hikaru no Go were first published in the manga/manhua magazine Rèmén Shàonián Top (熱門少年TOP) by Da Ran Publishing, but when Daran Publishing went bankrupt the series were transferred to Formosa Youth.

EX-am

[edit]

EX-am is the Hong Kong version of Weekly Shōnen Jump published by Culturecom Holdings's comic division Culturecom Comics, the largest comic distributors in all of Asia.[95] The magazine published Hunter × Hunter, Captain Tsubasa and Dragon Ball—which holds the highest circulation of manga in Hong Kong, alongside the highest of domestic manhua which would be Chinese Hero: Tales of the Blood Sword.[95]

C-Kids

[edit]

C-Kids (ซีคิดส์ See Kít) is the Thai language Weekly Shōnen Jump published by Siam Inter Comics.[96] C-Kids publishes many Weekly Shōnen Jump series such as One Piece, Gintama[97] along with many original manga-influenced comics from the division Cartoon Thai Studio like EXEcutional.[98]

Boom

[edit]

Boom (บูม) is another Thai language Weekly Shōnen Jump published by Nation Edutainment. Boom publishes many Weekly Shōnen Jump series such as Naruto, Death Note along with many original manga-influenced comics from Factory Studio like Meed Thii Sib-Sam and Apaimanee Saga.

Swedish Shonen Jump

[edit]

In November 2004, Manga Media began publication of a Swedish language version of Weekly Shōnen Jump in Sweden, called Shonen Jump as a sister publication to their existing magazines Manga Mania and Shojo Stars. The magazine included chapters from various popular Weekly Shōnen Jump titles including Bleach, Naruto, Shaman King, and Yu-Gi-Oh!. In November 2007, after 37 issues published, Manga Media ceased publication of the magazine.[99][100] It had a circulation of 30,000 copies.[92]

Norwegian Shonen Jump

[edit]

A Norwegian language edition of Weekly Shōnen Jump began publication in Norway in March 2005. Published by Schibsted, the Norwegian edition was a direct translation of Bonnier's Swedish version of the magazine, containing the same series and titles. When Bonnier lost the license for Weekly Shōnen Jump, the Norwegian version also ceased publication, with the last issue released on February 26, 2007. They also created two short lived book imprints: "En Bok Fra Shonen Jump" (a book from Shonen Jump) for profile books and "Dragon Ball Ekstra" (Dragon Ball Extra) a line specifically for manga written by Akira Toriyama.[101] Also a film comic based on the Dragon Ball Z anime was released under the "TV Anime Comic" imprint.[102]

Imprints

[edit]
Further information: Jump (magazine line) § Imprints

Jump Comics is used as an imprint label for publishing manga, most often for collected tankōbon volumes of manga series originally serialized in Weekly Shōnen Jump and other Jump magazines.[103] The imprint is published in the U.S. under the names Shonen Jump and Shonen Jump Advanced. Shōnen Jump Advanced was created for the distribution of manga series considered more mature due to content or themes. Series released under SJA include Eyeshield 21, Ichigo 100%, Pretty Face, I"s, Hunter × Hunter, Bobobo-bo Bo-bobo (first edition) and Death Note.

Weekly Shōnen Jump formerly ran a manga line of aizōban editions called Jump Comics Deluxe. Jump Comics+ is the imprint for all the manga series exclusively digitally released on the app and website Shōnen Jump+ after the chapters of the series get reunited and released in print in tankōbon format. Weekly Shōnen Jump has also run a line of light novels and guidebooks called Jump J-Books. Weekly Shōnen Jump has also run a line bunkobon editions called Shueisha Comic Bunko. A line of large square-bound phone book size issues of early Jump Comics series named Shueisha Jump Remix has also been published.

Circulation figures

[edit]

Magazine circulation

[edit]

The mid-1980s to the mid-1990s represents the era when the magazine's circulation was at its highest, 6.53 million copies per week, with a total readership of 18 million people in Japan. The magazine has sold over 7.5 billion copies since 1968, making it the best-selling comic/manga magazine, ahead of competitors such as Weekly Shōnen Magazine and Weekly Shōnen Sunday.[26][104] Throughout 2019, it had an average circulation of over 1.6 million copies per week.

Year / Period Weekly circulation Magazine sales Sales revenue (est.) Issue price
1968 105,000[105] 1,050,000[105] ¥94,500,000 ¥90[106]
1969 240,000[105] 6,240,000 ¥561,600,000
1971 1,158,000[105] 60,216,000[105] ¥2,709,720,000
1974 1,650,000[105] 85,800,000[105] ¥8,580,000,000 ¥100[107]
1977 1,880,000[105] 97,760,000[105] ¥14,664,000,000 ¥150[107]
1978 2,100,000[105] 109,200,000[105] ¥18,564,000,000 ¥170[107]
1979 2,800,000[105] 145,600,000[105] ¥24,752,000,000
1980 3,045,000[105] 158,340,000[105] ¥26,917,800,000
1981 3,080,000[105] 160,160,000[105] ¥27,227,200,000
1982 3,420,000[105] 177,840,000[105] ¥30,232,800,000
1983 3,710,000[105] 192,920,000[105] ¥34,725,600,000 ¥180[107]
1984 3,900,000[105] 202,800,000[105] ¥36,504,000,000
1985 4,500,000[105] 234,000,000[105] ¥42,120,000,000
1986 4,355,000[105] 226,460,000[105] ¥40,762,800,000
1987 4,500,000[105] 234,000,000[105] ¥42,120,000,000
1988 4,850,000[105] 252,200,000[105] ¥45,396,000,000
1989 5,000,000[105] 260,000,000[105] ¥46,800,000,000
1990 5,300,000[105] 275,600,000[105] ¥49,608,000,000
1991 6,020,000[105] 313,040,000[105] ¥56,347,200,000
1992 6,180,000[105] 321,360,000[105] ¥61,058,400,000 ¥190[107]
1993 6,380,000[105] 331,760,000[105] ¥63,034,400,000
1994 6,480,000[105] 336,960,000[105] ¥70,761,600,000 ¥210[107]
1995 6,530,000[105] 339,560,000[105] ¥71,307,600,000
1996 5,880,000[105] 305,760,000[105] ¥64,209,600,000
1997 4,050,000[105] 210,600,000[105] ¥44,226,000,000
1998 3,600,000[105] 187,200,000[105] ¥39,312,000,000
1999 3,630,000[105] 188,760,000[105] ¥39,639,600,000
2000 3,630,000[105] 188,760,000[105] ¥39,639,600,000
2001 3,400,000[105] 176,800,000[105] ¥37,128,000,000
2002 3,200,000[105] 166,400,000[105] ¥34,944,000,000
2003 3,000,000[105] 156,000,000[105] ¥32,760,000,000
2004 3,000,000[105] 156,000,000[105] ¥32,760,000,000
2005 2,950,000[105] 153,400,000[105] ¥36,816,000,000 ¥240[107]
2006 2,953,750[105] 153,595,000[105] ¥36,862,800,000
2007 2,778,750[108] 144,495,000[108] ¥34,678,800,000
January 2008 to September 2008 2,788,334[109] 108,745,026[109] ¥26,098,806,240
October 2008 to September 2009 2,809,362[110] 146,086,824[110] ¥35,060,837,760
October 2009 to September 2010 2,876,459[111] 149,575,868[111] ¥35,898,208,320
October 2010 to September 2011 2,890,000[112] 150,280,000[112] ¥36,067,200,000
October 2011 to September 2012 2,838,000[113] 147,576,000[113] ¥35,418,240,000
October 2012 to September 2013 2,812,041[114] 146,226,132[114] ¥36,556,533,000 ¥250[115]
October 2013 to September 2014 2,701,042[116] 140,454,184[116] ¥35,113,546,000
October 2014 to September 2015 2,449,792[117] 127,389,184[117] ¥33,121,187,840 ¥260[118]
October 2015 to September 2016 2,220,000[119] 115,440,000[119] ¥30,014,400,000
October 2016 to September 2017 1,903,542[120] 98,984,184[120] ¥25,735,887,840
October 2017 to September 2018 1,773,125[121] 92,202,500[121] ¥23,972,650,000
October 2018 to September 2019 1,670,245[122] 86,852,740[122] ¥22,581,712,400
October 2019 to September 2020 1,557,706[123] 81,000,725[123] ¥23,490,210,250 ¥290[124]
October 2020 to September 2021 1,421,704[123] 73,928,634[123] ¥21,439,303,860
October 2021 to September 2022 1,312,396[123] 68,244,592[123] ¥19,790,931,680
1968 to September 2022 3,024,197 7,862,913,352[f] ¥1,728,185,275,190 ($20.197 billion) ¥218

Manga series

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The following table lists the manga series that have had the highest circulation in Shōnen Jump magazine. It lists the number of issues where they're serialized, and estimated circulation figures and sales revenue of those Shōnen Jump issues (based on the magazine circulation figures above). Of the series listed below, only Bleach, Gintama and Black Clover began their serialization after the conclusion of the golden age in the late 1990s.

Manga series First Issue Final Issue Issues Weekly circulation (est.) Total circulation (est.) Sales revenue (est.)
KochiKame: Tokyo Beat Cops #42, 1976 #42, 2016 1,960 3,117,207 6,109,725,720 ¥1,264,713,224,040 ($15.447 billion)
JoJo's Bizarre Adventure #1–2, 1987 #19, 2003 752 4,801,765 3,610,927,280 ¥713,117,176,736 ($8.937 billion)
One Piece #34, 1997 present 1040 3,332,759 3,175,460,142 ¥765,039,111,480 ($8.829 billion)
Dragon Ball #51, 1984 #25, 1995 519 5,696,397 2,956,430,000 ¥553,694,900,000 ($6.939 billion)
Naruto #43, 1999 #50, 2014 700 3,284,492 2,299,144,444 ¥545,946,848,920 ($6.529 billion)
Bleach #36–37, 2001 #38, 2016 698 3,127,815 2,183,214,876 ¥533,008,161,240 ($6.168 billion)
Dragon Quest #45, 1989 #52, 1996 349 5,971,250 2,083,966,250 ¥395,953,587,500 ($4.962 billion)
Gin Tama #2, 2004 #42, 2018 704 2,825,175 1,988,923,401 ¥513,733,058,820 ($5.717 billion)
Slam Dunk #42, 1990 #27, 1996 276 6,110,000 1,686,360,000 ¥330,841,200,000 ($4.146 billion)
Kinnikuman #22, 1979 #21, 1987 387 3,963,359 1,533,820,000 ¥270,256,200,000 ($3.387 billion)
Rurouni Kenshin #19, 1994 #43, 1999 255 5,566,784 1,419,530,000 ¥298,101,300,000 ($3.736 billion)
Yu-Gi-Oh! #42, 1996 #15, 2004 343 4,035,569 1,384,200,000 ¥290,682,000,000 ($3.643 billion)
Hunter × Hunter #14, 1998 present 390 2,895,187 1,129,122,930 ¥261,372,714,104 ($3.88 billion)
Fist of the North Star #41, 1983 #35, 1988 245 4,536,857 1,111,530,000 ¥200,075,400,000 ($2.508 billion)
City Hunter #13, 1985 #50, 1991 193 4,940,743 953,563,399 ¥171,641,411,820 ($2.151 billion)
Black Clover #12, 2015 present 350 1,794,449 628,057,150 ¥163,294,859,000($2.047 billion)
Captain Tsubasa #18, 1981 #37–38, 1997 178 4,649,038 827,528,750 ¥159,040,125,000 ($1.993 billion)
Saint Seiya #1, 1986 #49, 1990 110 4,801,000 528,110,000 ¥95,059,800,000 ($1.191 billion)

See also

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Notes

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Weekly Shōnen Jump

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Weekly Shōnen Jump (週刊少年ジャンプ, Shūkan Shōnen Janpu) is a weekly Japanese manga anthology magazine published by , targeting adolescent boys aged approximately 12 to 18 with action-oriented shōnen stories. First published on July 2, 1968, the magazine was initially released semi-monthly before transitioning to a weekly format in October 1969, establishing it as one of Japan's longest-running publications. It quickly rose to prominence as the best-selling magazine globally, peaking at over 6.5 million copies per issue in the , with total sales exceeding 7.5 billion copies since 1968, and maintaining a of around 1.1 million copies weekly as of , supplemented by substantial digital readership. The magazine has been instrumental in shaping modern manga culture by serializing blockbuster series such as (over 260 million copies sold), (over 250 million copies), and One Piece (over 578 million copies sold as of 2025), which have not only dominated Japanese sales charts but also spawned global adaptations, films, and merchandise empires. Its editorial philosophy emphasizes high-stakes storytelling, character growth, and reader polls to determine series continuation, fostering intense competition among creators and ensuring a dynamic lineup of approximately 20 ongoing titles per issue. Internationally, Weekly Shōnen Jump has expanded through licensed editions and digital platforms; Shueisha's app provides simultaneous global releases of select chapters in multiple languages, reaching readers in over 80 countries, while VIZ Media's English-language Shonen Jump magazine, launched in 2002, introduced the brand to North American audiences with simulpub chapters. This global reach has influenced pop culture worldwide, with Jump-derived franchises generating billions in revenue and inspiring generations of artists and fans.

History

Origins and Early Years (1968–1979)

Weekly Shōnen Jump was launched by on July 2, 1968, as a bi-weekly targeted at elementary school boys, evolving directly from the publisher's earlier and emphasizing an all- format without essays, photos, or other non-comic content to differentiate it from established rivals like and . The debut issue embodied 's strategy to recruit fresh talent and prioritize serialized and one-shot stories centered on action-oriented shōnen themes, such as adventure, sports, and emerging sci-fi elements, under the guiding motto of "friendship, effort, and victory." In 1969, amid the discontinuation of Shōnen Book, the magazine transitioned to a weekly schedule—prompting its rename to Weekly Shōnen Jump—and introduced Bessatsu Shōnen Jump as a monthly supplement to absorb content from the defunct title, thereby consolidating resources and expanding the Jump brand's reach. This shift supported rapid growth, with initial circulation around 100,000 copies building to surpass that of by 1973, exceeding 1 million weekly issues by the late 1970s through popular serializations and efficient distribution. Key foundational series like Go Nagai's , which began serialization on October 2, 1972, exemplified the editorial emphasis on dynamic, robot-action narratives that appealed to young male readers and helped solidify the magazine's identity in the competitive shōnen market. The 1970s marked the formalization of reader engagement mechanisms, including ankēto (survey) postcards that allowed subscribers to rank ongoing series, influencing editorial decisions and introducing a "doctrine of the survey's supremacy" by the early part of the decade. Serialization policies evolved to include strict performance metrics, such as potential cancellation after 10 weeks for series not ranking in the top two, alongside exclusive contracts for mangaka that provided annuities and page-rate stipends to foster loyalty. Talent scouting intensified with the launch of awards like the Tezuka Award in 1971, enabling newcomers to break into the anthology and contributing to a pipeline of action-focused content that drove sustained readership growth.

Golden Age and Expansion (1980–1999)

During the and 1990s, Weekly Shōnen Jump experienced its golden age, marked by a dramatic surge in circulation that reflected its growing cultural influence in . By the early , the magazine's weekly circulation exceeded 3 million copies, building on its foundational success from the previous decade. This growth accelerated through the mid-, reaching an average of approximately 4 million copies per issue by the late , and culminating in a peak of 6.53 million copies for the 1995 New Year's issue. Annual figures highlighted this expansion, with circulation averaging around 4.5 million in 1990 and climbing to over 6 million by 1994, before a slight dip to 5.88 million in 1996. These numbers underscored Jump's dominance, as it captured a significant share of the shōnen manga market amid Japan's economic boom. The era's success was propelled by the launch of iconic series that emphasized high-stakes action and sports themes, often sustained by strong performance in reader polls, which editors used to gauge popularity and decide continuations. , serialized from September 13, 1983, to August 8, 1988, exemplified the shift toward intense martial arts narratives, running for 245 chapters and consistently ranking high in polls due to its post-apocalyptic storytelling. followed in 1984, debuting on November 20 and concluding on May 23, 1995, after 519 chapters; its blend of adventure, humor, and escalating battles drove poll rankings and helped boost circulation by appealing to a broad youth audience. , starting in October 1990 and ending in June 1996 across 276 chapters, introduced basketball as a dynamic sports genre, achieving top poll positions through its character-driven drama and realistic depictions of team rivalry. These series not only filled the magazine's pages but also influenced editorial decisions to prioritize genres that fostered reader investment via weekly cliffhangers and fan feedback. Complementing serialization, expanded the Jump Comics imprint—initially launched in 1973 for collected volumes—to capitalize on the boom, releasing compilations that extended series lifespans beyond the magazine. By the , this imprint had grown to include dozens of titles annually, such as multi-volume sets for , enhancing revenue through bookstore sales and merchandising tie-ins. Marketing innovations, including precursor events to like seasonal fan festivals and promotional tours in the late 1990s, further solidified fan engagement, with activities such as artist meet-and-greets drawing thousands. Editorial strategies evolved under chief editor Hiroki Goto (1986–1993), who emphasized recruiting emerging talent through networks and workshops to secure fresh action-oriented content, resulting in a stable lineup of high-impact series. Jump's expansion intensified competition with rivals like Kodansha's , which focused on romance and slice-of-life stories but saw its circulation lag behind Jump's action-driven appeal. By the mid-1980s, Jump had overtaken its competitor, achieving over twice the weekly sales through aggressive genre diversification and reader-centric serialization, establishing itself as the leading shōnen publication.

Challenges and Decline (2000–2012)

Following the peak circulation of the , Weekly Shōnen Jump experienced a sustained decline in readership and sales throughout the , dropping from approximately 4 million copies per week in the late to around 2.8 million by 2012. This downturn was evident in key annual figures reported by the Japanese Magazine Publishers Association (JMPA): circulation fell to 2.95 million in , a 1.4% decrease from the prior year, before stabilizing slightly at 2.81 million in 2009 and 2.88 million in 2010, only to dip again to 2.83 million in late 2012. The magazine's average weekly print run, once bolstered by blockbuster series from the , struggled to maintain momentum as market dynamics shifted, with overall anthology sales in contracting amid broader publishing challenges. A primary factor in the early 2000s decline was the conclusion of several flagship series that had anchored the magazine's dominance, creating gaps that new titles struggled to fill immediately. For instance, the end of Yu-Gi-Oh! on March 8, 2004 marked the close of a major hit that had driven consistent sales since 1996, contributing to circulation fluctuations as reader interest waned without a seamless replacement. Efforts to revive fortunes centered on emerging long-runners like Naruto (serialized from 1999 to 2014), which gained traction in the 2000s through its ninja-themed adventures and international appeal, helping to stabilize sales alongside contemporaries One Piece (ongoing since 1997) and Bleach (2001–2016), collectively known as the "Big Three." These series provided a benchmark against the 1990s giants like Dragon Ball and Slam Dunk, whose endings in 1995 and 1996 had already triggered an initial 31% drop by 1997, setting the stage for prolonged recovery challenges. External pressures exacerbated the internal struggles, particularly the rise of internet piracy and sites in the mid-2000s, which offered free digital access to chapters shortly after release and eroded physical copy demand. Although comprehensive data on early impacts is limited, the proliferation of unauthorized translations—starting with fan-driven efforts around —coincided with accelerating sales erosion, as readers increasingly opted for convenient digital alternatives over buying the weekly . This trend was compounded by an aging core audience, with surveys indicating a shift toward older demographics (over 18) by the late , reducing appeal to the traditional preteens and teens targeted by shōnen content. Competition from nascent platforms further fragmented the market, drawing younger readers away from print anthologies toward webcomics and early digital services. Internally, editorial practices drew criticism for contributing to instability and creator burnout. The magazine's reliance on weekly reader polls to rank and decide series continuations led to rapid cancellations—often after just 10–20 chapters—for underperformers, fostering a high-pressure environment that prioritized immediate popularity over sustained storytelling. This "" system, while effective for hits, resulted in frequent turnover and complaints from artists about grueling workloads, including 80–100-hour weeks to meet deadlines, which strained health and creativity. Notable controversies emerged in the , with mangaka voicing concerns over insufficient support from editors at , who exerted tight control to align with commercial goals, exacerbating turnover in a competitive process. In response to these challenges, explored diversification beyond print, culminating in the 2013 launch of J-World , an indoor theme park featuring attractions based on Jump series like , , and One Piece. Operated in partnership with Bandai Namco, the park aimed to extend the brand into experiential entertainment but ultimately failed, closing in 2019 after attracting only modest attendance amid high operational costs. This initiative, planned amid the sales slump, highlighted the publisher's desperate pivot toward multimedia revenue streams as circulation woes persisted into the early .

Digital Era and Revival (2013–present)

In response to declining print circulation in the early 2010s, Weekly Shōnen Jump shifted toward digital platforms to revitalize its reach and adapt to changing reader habits. Shueisha launched the Shōnen Jump+ app in September 2014, offering a free digital publication with access to weekly issues, exclusive one-shots, and serialized manga, which quickly amassed millions of downloads and integrated reader voting systems for faster feedback on new titles. This platform emphasized simultaneous digital releases alongside print, allowing for real-time engagement and data-driven serialization decisions, such as extending or axing series based on app metrics like views and likes. In 2019, Shueisha expanded globally with the Manga Plus app on January 28, providing free simultaneous English releases of select Weekly Shōnen Jump series to international audiences, excluding Japan, to foster worldwide fandom and reduce piracy. Circulation recovery efforts focused on hybrid print-digital models, with print figures averaging over 1.6 million copies per week in before declining amid broader industry challenges. By mid-2024, weekly had fallen to approximately 1.1 million, reflecting a pivot toward digital subscriptions that exceeded 700,000 weekly copies by 2022 and continued to grow. This transition included targeted promotions for digital access during print shortages, helping stabilize revenue through app-based monetization like premium chapters. The digital era introduced serialization mechanics leveraging online analytics, enabling quicker iterations on story arcs and character development informed by user data. Notable series like , which began serialization in Weekly Shōnen Jump on March 5, 2018, benefited from this system, achieving massive popularity through app-exclusive previews and global hype via . Similarly, debuted on September 19, 2023, using digital polls to gauge early reception and adjust pacing, exemplifying how platforms like Shōnen Jump+ facilitate debut testing before full print commitment. During the , Shueisha enhanced online engagement by accelerating digital uploads and offering free archival access, boosting app usage as physical distribution faced delays and readers turned to hybrid consumption models. Recent initiatives include AI-assisted tools developed by Shōnen Jump+ editors, such as the 2023 Comic CoPilot, which by 2025 was trialed for suggesting , titles, and plot elements to streamline creation without replacing artists. Sustainability efforts emphasized reduced print runs through digital prioritization, minimizing paper waste while maintaining eco-friendly inks in remaining physical editions, aligning with Shueisha's broader environmental goals.

Publication and Audience

Circulation Figures

Weekly Shōnen Jump's circulation has experienced significant fluctuations since its launch in 1968, reflecting broader trends in the Japanese industry and economic conditions. The magazine achieved its highest weekly print circulation of 6.53 million copies in 1995, a peak driven by strong domestic demand during Japan's economic boom. However, sales began a steady decline thereafter, influenced by the burst of the asset price bubble and shifting consumer preferences toward , dropping to around 1.05 million print copies per week by 2025. Cumulatively, the magazine has sold over 7.5 billion copies worldwide since , far outpacing rivals like , which reported 4.55 billion copies by 2008. Circulation figures are primarily tracked through the Japan Magazine Publishers Association (JMPA), which certifies printed copies as a standardized metric for magazine distribution, including both sold and unsold stock returned to publishers. This methodology provides a conservative estimate of market reach, as it does not account for actual sales but serves as an industry benchmark. Post-2014, following the launch of the Shōnen Jump+ digital platform, began reporting separate digital subscription metrics, which reached over 700,000 weekly copies by 2022, helping offset print declines and bringing total weekly distribution to nearly 2 million. The following table summarizes key historical print circulation figures, highlighting trends across decades:
Year/PeriodAverage Weekly Circulation (print copies)Notes
19822,550,000Rapid growth phase in the 1980s.
19956,530,000All-time peak amid economic expansion.
19974,050,000Post-peak decline accelerated by recession.
20062,780,000First yearly increase in over a decade, but overall downward trend.
20171,915,000Fell below 2 million for the first time.
20191,640,000Continued softening in print sales.
2025 (Q2)1,047,500Recent low, with digital supplementing total reach.
By decade, the and early marked explosive growth, with circulation rising from about 2.5 million in 1982 to the 1995 zenith, fueled by expanding youth readership and economic prosperity. The late and saw a sharp contraction to under 3 million by 2006, exacerbated by the prolonged following the 1991 bubble collapse, which reduced on print media. The 2010s brought further erosion to around 1.6 million by 2019, as digital alternatives proliferated, though the temporarily stabilized figures above 1.3 million in 2021. In the , print has hovered near 1 million, with economic recovery uneven and demographic shifts—such as an aging core audience—contributing to sustained pressure on physical sales. Compared to competitors, Weekly Shōnen Jump overtook in circulation in 1973 and has retained dominance, maintaining roughly 20-30% higher weekly figures in recent years—for instance, 1.64 million versus Magazine's approximately 1.4 million in 2019. This leadership underscores Jump's market position, though both have faced parallel declines amid industry-wide digital transitions.

Target Demographics

Weekly Shōnen Jump is primarily targeted at young males aged 12 to 18, aligning with the shōnen genre's focus on adolescent boys through action-oriented stories emphasizing friendship, rivalry, and perseverance. This demographic forms the core readership, with the magazine's content designed to appeal to school-aged navigating themes of growth and achievement. Historically, the readership has skewed heavily male, with approximately 70% identifying as such in earlier surveys, though data from indicates 67.5% male readers. Over time, the audience has evolved to include a significant portion of adults aged 25 and older, comprising about 30% of readers as of , largely due to enduring long-running series like that retain fans into adulthood. Age breakdowns from reader surveys show 27.4% aged 25+, 25.8% aged 19-24, 17.6% aged 16-18, 16.4% aged 13-15, and 9.6% aged 10-12, highlighting a broadening beyond the traditional teen core. Marketing efforts emphasize engagement with this youth audience through school-based promotions in , such as events and distributions aimed at junior high students, alongside tie-ins with adaptations that amplify series visibility on television and streaming platforms. also relies on weekly reader surveys, where subscribers rank chapters via postcards or digital forms, to gauge preferences and inform decisions, ensuring content aligns with evolving tastes. In terms of , 2019 surveys indicate 32.5% readership. While the primary focus remains Japan's domestic youth market, international adaptations through publishers like tailor content for global teenage audiences, incorporating localized cultural nuances to maintain shōnen appeal.

Content and Features

Editorial and Serialization Process

The editorial and serialization process at Weekly Shōnen Jump operates on a rigorous weekly cycle, where serialized typically produce 19 to 22 pages per chapter, with lead series often including 4 to 8 color pages to attract readers. Artists face tight deadlines, often submitting work by late Wednesday or Thursday for the magazine's Monday release, leading to intense schedules that include planning, inking, and revisions over 5 to 6 days with minimal rest—sometimes as little as 2 hours of sleep before cutoff. Editors play a central role in scouting talent through biannual contests that receive over 1,000 submissions annually, as well as events like and social media monitoring, guiding promising artists from one-shots to full serialization. Each editor oversees 1 to 7 mangaka, providing hands-on support in plot development, character design, pacing, and lifestyle advice to meet deadlines and reader expectations. The (ToC) system ranks chapters based on weekly reader polls returned via postcards or online, with higher placements signaling popularity and influencing editorial decisions. Series consistently ranking low in polls—typically in the bottom positions over several weeks—are at risk of cancellation to make room for new titles, ensuring the magazine's 15 to 25 ongoing series remain dynamic. Prospective mangaka often begin with one-shot trials published in the , serving as auditions that can lead to if they perform well in polls; editors advocate for promising works during internal meetings. supports artists through programs like free health and childcare consultations introduced in recent years, alongside the 2018 "Health Check Death Race" initiative to raise awareness of work-related health risks. Newcomer awards provide an additional entry point for talent scouting, funneling winners into one-shot opportunities. Since around 2014, the process has evolved to incorporate digital submissions, with artists using tools like tablets for remote collaboration via platforms such as , easing some logistical burdens while maintaining the weekly pace. Efforts to promote diversity among creators have included initiatives on Shōnen Jump+, such as open submissions that led to the publication of the first female European creator in 2023, though Weekly Shōnen Jump's editorial teams remain predominantly male and Japanese, with limited female representation historically tied to understanding the . Controversies surrounding the process have intensified in the 2020s, particularly regarding overwork, with artists facing chronic , health issues, and even premature deaths, prompting industry-wide discussions on labor conditions. Editorial interference has also drawn criticism, as seen in cases where editors reject hundreds of pages or demand major revisions, creating precarious environments for mangaka despite the supportive intent. Weekly Shōnen Jump has serialized hundreds of series since its inception, with featured titles spanning diverse genres that have shaped culture. In the action genre, Akira Toriyama's (1984–1995) stands out, running for 519 chapters and blending , adventure, and sci-fi elements to popularize high-stakes tournament arcs and power escalation tropes. Similarly, Eiichiro Oda's (1997–present) exemplifies epic adventure-action with over 1,100 chapters, focusing on themes of friendship, freedom, and global exploration through a pirate crew's quest. Sports series like Takehiko Inoue's (1990–1996, 276 chapters) revolutionized narratives by emphasizing team dynamics, personal growth, and realistic athleticism, influencing subsequent titles in the genre. These historical highlights contributed to the magazine's golden age by driving massive circulation peaks in the 1980s and 1990s through relatable protagonists and intense rivalries. As of January 2026, Weekly Shōnen Jump maintains a lineup of 23 ongoing series, balancing veteran titles with fresh debuts to sustain reader engagement. Long-running flagship continues its serialization, alongside action-comedy entries like Yuto Suzuki's (2020–present), which explores a retired assassin's domestic life amid high-octane fights, and Takeru Hokazono's (2023–present), a revenge-driven tale emphasizing and family legacy. Newer additions include Tsurun Hatomune's Hima-Ten! (2024–present), a school-life series, the recently launched The Mage Next Door (2025–present), focusing on magical intrigue in everyday settings, and the upcoming Under Doctor by Kyō Tanimoto (2026–present), a medical battle shonen series about a protagonist born with a special ability that would make him the perfect assassin, with medical supervision by Yasuhiko Tomita, a professor at Kyorin University School of Medicine, scheduled to begin serialization in Issue 9 on January 26, 2026. Other prominent current series encompass by Kosuke Isomatsu, blending fantasy and romance, and by , a sports-romance hybrid centered on aspirations. The impact of these featured series extends beyond print, with many spawning extensive adaptations and unique spin-offs that amplify their cultural footprint. For instance, has inspired multiple series since 1986, including over 900 episodes across iterations, and spin-offs like that expand its universe. 's , airing since 1999, exceeds 1,000 episodes and has generated Jump-exclusive spin-offs such as novel tie-ins and stage plays, reinforcing the magazine's transmedia ecosystem. Sports titles like influenced viewership trends, with its 1993 adaptation boosting basketball's popularity in . These adaptations often achieve global syndication, with metrics showing surpassing 1 billion copies in circulation by 2022. Some series transition from Weekly Shōnen Jump to affiliated publications like Jump GIGA for irregular scheduling post-hiatus, allowing continued storytelling without weekly pressure. Yūki Tabata's (2015–present), an action-fantasy about a magicless boy in a wizard world, shifted to Jump GIGA in 2023 after a production break, resuming chapters seasonally while maintaining digital availability. Similarly, digital platforms like Shueisha's have enabled select series to go digital-only, extending runs for titles like ongoing webtoon-style entries. This flexibility supports creator health and fan retention amid evolving publication demands. Reader polls play a pivotal role in shaping series visibility and longevity, with weekly surveys determining table-of-contents (ToC) rankings that reflect popularity and influence editorial decisions. Fans submit postcards rating their top three chapters per issue, aggregating data to rank series from 1 to 20+; high placements like One Piece consistently topping charts signal strong support and often secure prime cover spots. Low rankings, conversely, can prompt counseling or cancellation, as seen in historical cases where poll performance directly affected serialization outcomes.

Newcomer Awards

Weekly Shōnen Jump's Newcomer Awards serve as key competitions for aspiring manga artists, providing opportunities for publication and career advancement within Shueisha's ecosystem. The flagship , named after pioneering mangaka , was established in 1971 as a semi-annual contest focused on story-driven manga for young male readers, with prizes including cash awards up to ¥2 million for top entries and publication of winning one-shots in the magazine. Complementing this is the Akatsuka Award, launched in 1974 and dedicated to comedy and gag manga in honor of , which follows a similar structure to encourage humorous narratives suited to the shōnen genre. Judging for these awards emphasizes originality of concept, quality of artwork, narrative structure, and overall appeal to shōnen audiences, often evaluated by panels of established mangaka and editors to identify fresh talent capable of sustaining reader engagement. Winners receive not only monetary prizes but also significant publication perks, such as featuring their works as one-shots in Weekly Shōnen Jump or related platforms, which frequently serve as gateways to full serialization; for instance, Eiichiro Oda's 1992 Tezuka Award-winning one-shot Wanted!—a pirate-themed adventure—directly influenced the development of his landmark series One Piece, marking an early milestone in his career. In the 2020s, these awards have evolved to accommodate modern practices, incorporating digital submissions via platforms like Creators since its 2019 launch, which streamlines entries for global participants. This shift culminated in 2020 with the Tezuka Manga Contest expanding internationally, allowing overseas artists to submit works for potential publication in Weekly Shōnen Jump's print or digital editions, broadening access beyond . Notable recent successes include Takeru Hokazono's 2020 top-prize win in the 100th for the one-shot Enten, which propelled the artist to serialize the acclaimed action series in Weekly Shōnen Jump starting in 2023.

Domestic Offshoots

Shueisha has developed several domestic offshoots under the Jump brand, extending the Weekly Shōnen Jump format to specialized or alternative serialization schedules while maintaining ties to the core shōnen audience. These publications share editorial resources and promote crossovers between series, fostering a unified Jump ecosystem. Jump Giga, launched in 2016 as a successor to the short-lived Shōnen Jump NEXT!!, operates on a seasonal basis with issues released in spring, summer, autumn, and winter. It primarily features one-shots by emerging and established artists, alongside short serials, spin-offs, and bonus chapters from Weekly Shōnen Jump titles. For instance, the 2025 Autumn issue includes 18 new one-shots and collaborations such as a special poster and sticker set between My Hero Academia and Kagurabachi. Transferred series from the main magazine, like Black Clover—which began serialization in Weekly Shōnen Jump in February 2015 and shifted to Jump Giga in December 2023 to accommodate a less intensive schedule—continue here, with the 2025 Autumn edition delivering three new chapters in a 61-page color lead feature. This structure allows for flexible pacing, and the digital version of the Autumn 2025 issue was released on October 30, 2025. V Jump, established in 1993, is a monthly magazine emphasizing video game content with strong ties to Jump franchises. It includes strategy guides, promotional tie-ins, and manga adaptations related to games based on series like Dragon Ball, Boruto, Yu-Gi-Oh!, and Dragon Quest, often bundling exclusive items such as original cards or previews. The December 2025 issue, for example, features a Yu-Gi-Oh! OCG card titled "磁石の戦士Ω＋" alongside Dragon Quest HD-2D remake coverage. This focus on interactive media complements Weekly Shōnen Jump's narrative content through shared promotional campaigns. Earlier offshoots include , a biweekly seinen-oriented magazine that ran from December 1986 to October 2011, serializing mature-themed under the Jump Comics imprint before its discontinuation amid shifting market dynamics. These publications shared editorial teams with Weekly Shōnen Jump, enabling cross-promotions like artist cameos and joint events to expand the brand's reach within . No major revivals or mergers of discontinued titles have occurred by 2025, though ongoing offshoots like Jump Giga continue to integrate migrating series for sustained engagement.

Other Shueisha Titles

Shueisha publishes several manga magazines beyond the core Weekly Shōnen Jump lineup, offering diverse formats and demographics that complement the flagship's high-volume model. These titles often feature slower-paced narratives or , allowing for deeper storytelling without the weekly pressure, while sharing promotional synergies such as joint author appearances and crossover illustrations. Jump Square, launched in November 2007 as a monthly shōnen , serves as a key complement to the weekly format by hosting series with more experimental or seinen-leaning shōnen elements, such as supernatural action and character-driven dramas. It succeeded the defunct (which ran from 1970 to 2007 but aligns with Shueisha's expanded Jump ecosystem since the 1980s), providing space for ongoing titles like (serialized since 2009) and Emiya-san Chi no Kyō no Gohan (since 2017), which emphasize world-building over rapid plot progression. This monthly rhythm enables artists to refine artwork and narratives, often attracting creators who transition from Weekly Shōnen Jump pilots or seek longer development cycles. By 2019, Jump Square achieved a circulation of 170,000 copies, including digital editions, reflecting steady demand among teen readers for its blend of action and fantasy genres. In the adult-oriented segment, debuted in July 1985 as Shueisha's inaugural "" magazine, targeting working professionals with seinen stories focused on business, drama, and slice-of-life themes, such as spin-offs and corporate intrigue tales. It evolved into a semimonthly publication by 1986 but ceased in October 2011 amid declining print sales. Its successor, , launched on November 16, 2011, as a biweekly merger of Business Jump and the more eclectic , inheriting nine series from the former and three from the latter to streamline Shueisha's seinen portfolio. emphasizes mature narratives like historical epics and psychological thrillers. This consolidation boosted efficiency, with circulation reaching 122,000 copies in and stabilizing around 94,500 by late 2024, underscoring its role in serving adult readers who prefer substantive, less frequent releases. Synergies across Shueisha's titles manifest through artist migrations and collaborative events, fostering talent retention and cross-promotion. For instance, creators like transitioned from external publishers to 's Jump magazines, debuting Negai no Astro in Weekly Shōnen Jump in April 2024 after concluding elsewhere, highlighting how Shueisha attracts established talent for its ecosystem. Internal shifts occur when series or artists move between imprints for better audience fit, such as pilots from Weekly Shōnen Jump finding homes in for extended runs. Joint events like , an annual convention since 1999 organized by Shueisha, unite artists from Weekly Shōnen Jump, , and for panels, merchandise reveals, and crossover artwork, drawing over 100,000 attendees in 2024 and amplifying shared branding. These initiatives enhance visibility, with 2025's event scheduled to feature updates from multiple magazines, including stage streams for series. Circulation figures within Shueisha's portfolio illustrate scale differences up to 2025, with Weekly Shōnen Jump leading at approximately 1.3 million weekly copies in 2021 (trending downward to around 1.28 million by mid-2022 and further to about 1.1 million by mid-2025 due to digital shifts), dwarfing Jump Square's 95,000 monthly copies and Grand Jump's 94,500 biweekly print run in late 2024. These metrics highlight how specialized titles sustain niche audiences, contributing to Shueisha's overall dominance without competing directly with the flagship's volume. Digital platforms have further bridged gaps, boosting combined reach by 20-30% across titles since 2020.

International Reach

Localized Editions

Viz Media launched the English-language Shonen Jump magazine in November 2002 as a monthly print anthology featuring serialized chapters from popular Weekly Shōnen Jump titles such as Naruto and Bleach. Published in North America, the magazine adapted content for Western audiences while maintaining the core serialization model of its Japanese counterpart. The print edition continued until 2012, when it was succeeded by the digital Weekly Shonen Jump Alpha, marking a shift toward simultaneous weekly releases with Japan via online platforms. In , Carlsen Verlag introduced Banzai! in November 2001 as the German adaptation of Weekly Shōnen Jump, offering monthly issues with translated chapters from series like Yu-Gi-Oh! and original German content. The magazine achieved an initial circulation of 130,000 copies per month, reflecting growing interest in among German youth. It ceased publication in December 2005 due to market challenges, including competition from digital alternatives and fluctuating sales. has no official print adaptation of Weekly Shōnen Jump due to strict regulations on imported , with titles available via individual volume licensing or digital platforms where permitted. In , earlier efforts included Rèmén Shàonián Top (熱門少年TOP), a former weekly Chinese-language version published by Da Ran Publishing in the 1990s, which serialized titles like Yu-Gi-Oh! before ceasing due to the publisher's . Taiwan's Tong Li Publishing released Formosa Youth (Báodǎo Shàonián), the official weekly Chinese-language edition of Weekly Shōnen Jump, in September 1992. It serializes titles and continues as a shōnen today. Short-lived European ventures included a Swedish edition published by Bonnier Carlsen from 2005 to 2007, which featured monthly translations of Shōnen Jump staples such as Naruto and Yu-Gi-Oh!. A parallel Norwegian version, handled by Schibsted Forlagene starting in March 2005, directly translated the Swedish content and ran monthly until 2007, capitalizing on regional manga enthusiasm before closing due to insufficient readership. Localization of Weekly Shōnen Jump for international print markets involved significant adaptations to address cultural and technical barriers. Early editions often reversed the traditional right-to-left Japanese reading order to left-to-right for Western conventions, a practice that altered visual flow but improved accessibility for non-Japanese readers. Translation efforts required balancing literal fidelity with cultural nuances, such as explaining onomatopoeia or idioms, while censorship occasionally toned down violence, nudity, or suggestive themes to comply with local standards, as seen in North American releases where explicit content was edited to suit younger audiences. These adjustments, while enabling broader distribution, sometimes sparked debates over authenticity versus market viability. By 2025, most international print editions of Weekly Shōnen Jump have either closed or transitioned away from physical formats, with no major revivals reported amid the global shift to . The decline in print reflects reduced demand for magazines in favor of app-based access, leaving legacy editions as key milestones in manga's overseas expansion.

Global Digital Platforms

launched the app in January 2019 as a global digital platform to provide free access to simultaneous English-language releases of Weekly Shōnen Jump chapters, alongside select older installments, aiming to bridge accessibility gaps for international audiences outside . By 2025, the app supports chapters in 9 languages, including English, Spanish, French, German, Thai, , Indonesian, Russian, and Vietnamese, facilitating broader worldwide distribution. It has attracted over 28 million downloads as of mid-2024, driven by its no-cost model for new content that counters illegal downloads while promoting official readership. Complementing this, Shōnen Jump+, introduced in September 2014, serves as a Japan-centric digital counterpart with a hybrid revenue model featuring free previews and paid access to full archives and exclusive series not found in the print edition. This platform integrates seamlessly with Weekly Shōnen Jump by offering early digital previews of print chapters and hosting original web , enhancing user engagement through features like vertical-scroll formats tailored for mobile devices. To extend reach, has formed partnerships with platforms like and affiliates, enabling streaming tie-ins where adaptations drive traffic to digital chapters. For instance, in 2025, 's new Manga add-on launched with titles such as and , bundling access for subscribers to promote cross-media consumption. Similarly, collaborations via Comikey distribute webtoon-style content on vertical-scroll services, adapting Jump series for global mobile audiences. These platforms incorporate anti-piracy measures, including geofencing to restrict access in Japan and collaborations with digital rights groups for takedown notices, which have helped reduce unauthorized scans by offering legal free tiers. Revenue streams primarily derive from advertisements on free content and premium subscriptions like Manga Plus Max, introduced in 2023, providing ad-free reading and full archives for a monthly fee, generating sustainable income while maintaining accessibility. Post-2020, Shueisha accelerated expansion into emerging markets, particularly , by adding regional languages to and partnering with local distributors to localize interfaces, resulting in significant user growth in countries like , , and . This digital push builds on earlier localized print editions as precursors to seamless online access.

Imprints and Extensions

Publishing Imprints

The Jump Comics imprint, established by in 1973, serves as the primary label for collected editions of serialized in Weekly Shōnen Jump and related titles. These volumes compile chapters from ongoing and completed series, typically released every two to three months, and have become a cornerstone of Shueisha's output, encompassing thousands of titles across decades of . Shueisha launched the Shōnen Jump+ digital platform in 2014. The Jump Comics+ imprint collects series debuting exclusively there, such as Spy × Family by Tatsuya Endo, which began serialization in 2019 and has amassed over 38 million copies in circulation as of August 2025. This imprint facilitates simultaneous digital releases, allowing for faster adaptation to online reading trends while maintaining compatibility with print conversions. In 2024, launched Jump Toon, a vertical-scrolling service that extends digital publishing options. also produces deluxe and limited-run editions under variations like Jump Comics Deluxe, featuring larger formats, enhanced artwork, or anniversary compilations, such as the aizōban-style phone-book-sized volumes or special remixes for milestones. Examples include the Complete Edition and : The World, which offer premium bindings and bonus content to commemorate long-running series. Notable sales success within these imprints underscores their market dominance; for instance, Eiichiro Oda's , published under Jump Comics, has exceeded 578 million volumes sold worldwide as of July 2025, establishing it as the best-selling manga series in history. Post-2013, Shueisha accelerated its transition to e-books with the launch of the S-Manga.net portal and digital editions of Weekly Shōnen Jump issues, enabling day-and-date releases alongside print. This shift extended to global licensing partnerships, including platforms like VIZ Media's Shonen Jump app and , which provide English translations and international access to Jump titles, broadening readership beyond .

Merchandise and Events

Weekly Shōnen Jump generates significant revenue through licensing agreements for merchandise such as toys, figures, apparel, and video games, with Shueisha reporting nearly ¥74 billion in rights licensing sales for the fiscal year ending June 2025, reflecting a 29 percent increase from the previous year. These products often draw from popular series within the magazine, including action figures and collectibles based on characters from titles like and One Piece. Official collaborations, such as the 2018 Uniqlo UT collection celebrating the magazine's 50th anniversary, featured over 40 T-shirt designs inspired by Jump series, highlighting the brand's focus on accessible apparel for fans. A key event for fan engagement and merchandise sales is , an annual convention organized by since 1999, typically held over two days in December at in . The event attracts over 100,000 attendees each year, featuring exhibitions of upcoming and projects, stage announcements for new adaptations, and booths selling exclusive goods like limited-edition figures and apparel. In response to the , 2020 and 2021 shifted to virtual formats, utilizing a smartphone app called Jump Festa Online to create an interactive "Jump Fest Island" where fans could explore digital exhibits, watch livestreamed panels, and access merchandise previews. Shueisha also operated J-World Tokyo, an indoor theme park dedicated to Weekly Shōnen Jump from 2013 to its closure in 2019, located in Sunshine City, . The park offered attractions such as rides, shows, and interactive experiences based on series like , , and , serving as a major hub for immersive fan events and on-site merchandise purchases. Complementing these, Shueisha maintains pop-up stores and permanent Jump Shops in , such as those in and , where fans can buy official goods including apparel, accessories, and series-specific collectibles during limited-time promotions.

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