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Big Comic Original
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 | |
 Big Comic Original February 5, 2007 issue | |
| Editor-in-chief | Nakaguma Ichirō |
|---|---|
| Categories | Seinen manga[1][2] |
| Frequency | Bi-monthly |
| Circulation | 504,333[2] (July–September, 2016) |
| Founded | 1972 |
| Company | Shogakukan |
| Country | Japan |
| Based in | Tokyo |
| Language | Japanese |
| Website | Official website  |
Big Comic Original (ビッグコミックオリジナル, Biggu Komikku Orijinaru) is a Japanese seinen manga magazine published by Shogakukan, aimed at an older adult and mostly male audience. It is a sister magazine to the manga magazine Big Comic, the biggest difference being that it goes on sale twice a month in the weeks Big Comic does not.[3] Cover artwork usually features a dog or cat, and a haiku. The dozen or so manga serials running at any given time feature a wide variety of material, from historical dramas and suspense to sports and romance, with relatively little science fiction or fantasy.[citation needed]
Launched in 1972, it has published over 1000 issues, typically running to about 350 pages in a black-and-white, saddle-stapled format, selling for 340 yen (2015). More than 83% of readers are reported to be over 30 years old, with female readers comprising about a quarter of the total. Most readers are company employees.[4] Circulation in 2015 was reported at 539,500.[5]
Currently running manga series
[edit]| Title | Author/Artist | Premiered |
|---|---|---|
| Bara-mura e Yōkoso (薔薇村へようこそ) | Fumi Saimon | October 2021[6] |
| Bokura wa Sore wo Koete Yuku (僕らはそれを越えてゆく) | Yū Nakahara | September 2021[7] |
| Cecil no Joō (セシルの女王, Seshiru no Joō) | Hideo Iura | October 2021[8] |
| Curry Man (カレーマン, Karēman) | Mitsuo Hashimoto (original work by Masaru Miyazaki) | July 2022[9] |
| Dekake Oya (出かけ親) | Sensha Yoshida | July 2017[10] |
| Himiko (卑弥呼) | Richard Wu (story) and Mariko Nakamura (art) | September 2018[11] |
| Hon no Mushi Mimizuku-kun (本の虫 ミミズクくん) | Yuniko Karashi | September 2021[12] |
| Kango Joshu no Nana-chan (看護助手のナナちゃん) | Chisa Nomura | August 2010[a] |
| Like Shooting Stars in the Twilight (黄昏流星群, Tasogare Ryūseigun) | Kenshi Hirokane | 1995[15] |
| Miwa-san Narisumasu (ミワさんなりすます) | Uhei Aoki | January 2021[16] |
| No Comic, No Life (没有漫画 没有人生, Nō Komikku nō Raifu) | Minetarō Mochizuki | January 2022[17] |
| San-Chōme no Yūhi Yūyake no Uta | Ryohei Saigan | September 1974[18] |
| Shōwa Tennō Monogatari (昭和天皇物語) | Kazutoshi Hando (story), Issei Eifuku (story) and Junichi Nojo (art) | April 2017[19] |
| Shin'ya Shokudō (深夜食堂) | Yaro Abe | August 2007[b] |
| Stigma (スティグマ, Sutiguma) | Hideo Iura | March 2021[23] |
| Ta-tan (たーたん) | Keiko Nishi | January 2015[24] |
| Tetsubon (テツぼん) | Kiyoshi Nagamatsu (story) and Enshu Takahashi (art) | January 2011[25] |
| Tsuribaka Nisshi (釣りバカ日誌) | Juzo Yamasaki (story) and Kenichi Kitami (art) | 1979[26] |
| Zenkamono (前科者) | Masahito Kagawa (story) and Toji Tsukishima (art) | December 2017[27] |
Manga artists and series published
[edit]- Mitsuru Adachi
- Jinbē (1992–1997) and Bōken Shōnen (1998–2005)
- George Akiyama
- Haguregumo (1973–2017)
- Nobuyuki Fukumoto
- The Legend of the Strongest, Kurosawa! (2002–2006)
- Shin Kurosawa:Saikyō Densetsu (2013–2020)
- Mitsuo Hashimoto
- Station (1992–1996)
- Kenshi Hirokane and Masao Yajima
- Human Crossing (1980–1990)
- Shinichi Ishizuka
- Gaku: Minna no Yama (2003–2012)
- Hideo Iura
- Bengoshi no Kuzu (2003–2009)
- Ichimaru
- Okami-san (1990–1999)
- Okami-san Heisei Basho (2011–2013)
- Junji Ito
- No Longer Human (2017–2018)
- Eiji Kazama
- Kaze no Daichi (風の大地) (1990–2022; with Nobuhiro Sakata)
- Kō Kojima
- Hige to Boin (1974–2004)
- Shinji Mizushima
- Abu-san (1973–2014)
- Motoka Murakami
- Ryuu Ron (1991–2006)
- Jiro Taniguchi
- Guardians of the Louvre (2014)
- Naoki Urasawa
- Pineapple Army (1985–1988; with Kazuya Kudo)
- Master Keaton (1988–1994; with Hokusei Katsushika and Takashi Nagasaki)
- Monster (1994–2001)
- Pluto (2003–2009)
- Master Keaton Remaster (2012–2014; with Takashi Nagasaki)
- Mujirushi: The Sign of Dreams (2017–2018)
- Takatoshi Yamada
- Dr. Kotō Shinryōjo (moved from Weekly Young Sunday; 2008–2010) [on hiatus]
- Osamu Yamamoto
- Akagari: The Red Rat in Hollywood (2017–2021)
Notes
[edit]- ^ The manga started in Big Comic Original Zōkan in April 2009,[13] and has been parallel published in the main magazine since August 2010.[14]
- ^ The manga started in Big Comic Original Zōkan in October 2006,[20][21] and was transferred to the main magazine in August 2007.[22]
References
[edit]- ^ Jason Thompson (2007). Manga: The Complete Guide. Del Rey Books. p. 327-239. ISBN 978-0-345-48590-8.
- ^ a b "Men's Manga" (in Japanese). Japanese Magazine Publishers Association. September 2016. Retrieved November 6, 2016.
- ^ Frederik L. Schodt (1996). Dreamland Japan: writings on modern manga. Stone Bridge Press. p. 97. ISBN 1-880656-23-X.
- ^ Clements, Jonathan. "Manga Snapshot: Big Comic Original." NEO, Jan. 2011, p. 24-25.
- ^ Japan Magazine Publishers Association Magazine Data June 2015. Retrieved Oct. 28, 2015.
- ^ 柴門ふみが描く令和の“家族のかたち”、訳ありの人々が集う別荘地が舞台の新連載. Natalie (in Japanese). Natasha, Inc. October 5, 2021. Retrieved September 9, 2022.
- ^ 「ラストイニング」の中原裕が新たに描く高校球児の物語、BCオリジナルで開幕. Natalie (in Japanese). Natasha, Inc. September 3, 2021. Retrieved September 9, 2022.
- ^ 「あさひなぐ」のこざき亜衣が描く歴史ロマン「セシルの女王」BCオリジナルで開幕. Natalie (in Japanese). Natasha, Inc. October 20, 2021. Retrieved September 9, 2022.
- ^ "カレーバカ"の天才シェフがカレーの真髄追う物語、宮崎克×はしもとみつお新連載. Natalie (in Japanese). Natasha, Inc. July 20, 2022. Retrieved September 9, 2022.
- ^ 吉田戦車の“まんが一家”がBCオリジナルに帰還、新連載「出かけ親」. Natalie (in Japanese). Natasha, Inc. July 20, 2017. Retrieved September 9, 2022.
- ^ リチャード・ウー×中村真理子が「卑弥呼」の謎に迫る、BCオリジナルで新連載. Natalie (in Japanese). Natasha, Inc. September 5, 2018. Retrieved September 9, 2022.
- ^ 僕はどうして歳三じゃないんだろう…本の虫の小学生を描く新連載がBCオリジナルで. Natalie (in Japanese). Natasha, Inc. September 18, 2021. Retrieved September 9, 2022.
- ^ 黒潮マンガ大賞から 野村知紗さん夫に続きプロデビュー (in Japanese). The Kochi Shimbun. Archived from the original on September 4, 2012. Retrieved September 9, 2022.
- ^ ビッグ オリジナル 2010年09/05号 (in Japanese). Shogakukan. Archived from the original on December 23, 2010. Retrieved September 9, 2022.
- ^ 弘兼憲史氏『黄昏流星群』の朗読劇、11.21～22上演!! (in Japanese). Shogakukan. November 10, 2017. Retrieved September 9, 2022.
- ^ 青木U平が新連載で“なりすましヒロイン”描く、BCオリジナルに登場. Natalie (in Japanese). Natasha, Inc. January 20, 2021. Retrieved September 9, 2022.
- ^ Pineda, Rafael (January 9, 2022). "Minetarō Mochizuki Launches New Manga, Puts Frederick Manga on Hiatus". Anime News Network. Retrieved September 9, 2022.
- ^ 漫画『三丁目の夕日』連載45年で1000回到達 昭和30年代の日本の暮らし描く. Oricon News (in Japanese). February 5, 2020. Archived from the original on March 14, 2022. Retrieved March 14, 2022.
- ^ 「哭きの竜」能條純一が昭和天皇を描く新連載、次号は伊藤潤二「人間失格」開幕. Natalie (in Japanese). Natasha, Inc. April 20, 2017. Retrieved January 31, 2021.
- ^ Yarō, Abe. プロフィール. abeyaro.com (in Japanese). Retrieved April 10, 2022.
2006年『深夜食堂』「ビッグコミックオリジナル」 11月増刊号第一話が掲載～現在まで連載中
- ^ ビッグオリジナル増刊 (バックナンバー). s-book.com (in Japanese). Shogakukan. Archived from the original on October 14, 2007. Retrieved April 10, 2022.
- ^ 2007年9/5号. s-book.com (in Japanese). Shogakukan. Archived from the original on October 14, 2007. Retrieved April 10, 2022.
- ^ 「刑事ゆがみ」の井浦秀夫が描く男と女の狭間に漂う狂気、BCオリジナルで開幕. Natalie (in Japanese). Natasha, Inc. March 19, 2021. Retrieved September 9, 2022.
- ^ 西炯子が青年誌でシリーズ連載、童貞の父親とイマドキ娘の物語. Natalie (in Japanese). Natasha, Inc. January 5, 2015. Retrieved September 9, 2022.
- ^ 「テツぼん」オリジナル増刊から本誌へ昇格、完全連載化. Natalie (in Japanese). Natasha, Inc. January 6, 2011. Retrieved September 9, 2022.
- ^ 「釣りバカ日誌」連載1000回達成、西田敏行や山寺宏一ら著名人8人がお祝い. Natalie (in Japanese). Natasha, Inc. May 6, 2021. Retrieved September 9, 2022.
- ^ 犯罪者の更生を助ける保護司を描くヒューマンドラマ「前科者」開幕. Natalie (in Japanese). Natasha, Inc. December 20, 2017. Retrieved September 9, 2022.
External links
[edit]- Big Comic Original official website (in Japanese)
- Big Comic Original at Anime News Network's encyclopedia
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Big Comic Original
View on Grokipediafrom Grokipedia
History
Launch and early years
Big Comic Original was launched in July 1972 by Shogakukan in Tokyo, Japan, initially as a special issue (zōkan) of the established Big Comic magazine, which had debuted in 1968.[2][9] This positioning established it as a companion title within Shogakukan's growing lineup of seinen manga publications, specifically aimed at older male readers seeking more mature and sophisticated narratives compared to the youth-focused content prevalent in the industry at the time.[3] From its inception, the magazine adopted a black-and-white format in B5 size with center-stapling, typically featuring around 350 pages per issue to accommodate serialized stories and one-shots.[10] It began with a monthly release schedule, alternating dates with Big Comic to fill gaps in the publication calendar, before transitioning to a consistent bi-monthly cadence on the 5th and 20th of each month starting in August 1973, and achieving full independence as a standalone title in February 1974.[9] Shogakukan's strategy emphasized realistic, adult-oriented storytelling to differentiate it from more fantastical or adolescent-oriented manga, fostering a space for complex character-driven tales and social commentary that appealed to a post-college readership.[2] Early serialization efforts helped solidify the magazine's identity, with notable debuts including George Akiyama's Haguregumo, which began in December 1972 and ran for over four decades, exemplifying the blend of historical drama and irreverent humor that became a hallmark.[11] Other inaugural contributors, such as Shinji Mizushima, Ryohei Saigan, and Baron Yoshimoto, contributed to the first issue's lineup, setting a tone for grounded, mature themes that attracted established artists looking to explore beyond conventional shōnen formats.[2] This foundational period in the 1970s marked Big Comic Original's evolution from a supplementary publication to a distinct platform for seinen manga innovation.Key developments and milestones
In the 1980s and 1990s, Big Comic Original reflected Japan's economic landscape through serialized works that captured the exuberance and eventual burst of the bubble economy, such as Human Scramble by Masao Yajima and Kenshi Hirokane, which ran from 1980 to 1990 and depicted urban life, land speculation, and social shifts amid booming asset prices and subsequent downturns. This period marked a maturation for the magazine, with consistent bi-monthly publication fostering enduring series that became cultural touchstones. By the mid-2010s, the title had solidified its reputation for longevity, surpassing 1,000 issues as it approached its fifth decade, a milestone underscoring its stability in the competitive seinen manga market.[12] A pivotal development came with the introduction of long-running serializations that spanned decades, exemplified by Tsuribaka Nisshi by Jūzō Yamasaki and Ken'ichi Kitami, which debuted in 1979 and continued uninterrupted, earning the 28th Shogakukan Manga Award in 1983 for its enduring appeal in blending humor and fishing culture.[13] Similarly, Ryohei Saigan's Sanchōme no Yūhi reached its 50th anniversary of serialization in 2024, highlighting the magazine's ability to sustain nostalgic, slice-of-life narratives over half a century.[2] These series not only drove reader loyalty but also influenced editorial strategies, leading to the incorporation of special issues alongside the core bi-monthly schedule, such as annual January supplements that expanded thematic explorations.[14] The 2010s brought adaptations to digital trends amid declining print circulation industry-wide, with the launch of the Big Comic Bros. website in 2017 providing online previews and teasers to engage younger and broader audiences, including a noted uptick in female readership drawn to diverse genres.[1][15] In 2016, Shogakukan implemented next-day digital distribution for Big Comic Original issues via platforms like Comic Walker, allowing immediate electronic access at 350 yen per edition and bridging print traditions with modern consumption habits. This integration culminated in the magazine's 50th anniversary celebration in 2024, marked by a special eighth issue featuring a full-color one-shot by Rumiko Takahashi and exclusive merchandise, reaffirming its evolution while honoring foundational works.[16]Publication details
Format and schedule
Big Comic Original is published in B5 format with a black-and-white interior printed on standard magazine paper and saddle-stitched binding for durability across its substantial length. Issues typically contain around 377 pages, allowing space for multiple serialized manga chapters, short stories, and editorial content.[17] The magazine's pricing has evolved since its launch, beginning at 143 yen for early issues in 1972. By 2015, the cover price stood at approximately 340 yen, with no significant increases reported in subsequent years until a rise to 490 yen (tax included) as of late 2025.[18][1] Since its inception as a semi-monthly publication, Big Comic Original has maintained a consistent release schedule, with issues dated for the 5th and 20th of each month to alternate with its sister magazine Big Comic and prevent overlap in distribution. A monthly special edition (zōkan) appears around the 12th of odd-numbered months, expanding on the core lineup. This pattern has remained stable, ensuring regular availability for readers.[1][19] Distribution occurs primarily within Japan via newsstands, major bookstores such as Kinokuniya and Yodobashi, and direct subscriptions through Shogakukan's services, which bundle regular and special issues for home delivery. International access is restricted, mainly through import channels at overseas Japanese bookstores or online retailers offering physical copies and digital scans, though availability varies by region.[20][21] Covers feature vibrant full-color artwork to attract attention on shelves, often incorporating thematic illustrations tied to ongoing series or seasonal motifs. Supplementary elements include occasional haiku poems printed on the exterior, sometimes paired with pet-themed artwork in promotional campaigns, such as reader-submitted animal illustrations by artists like Muramatsu Makoto to celebrate milestones.[22]Circulation and readership
Big Comic Original's circulation peaked during the 1980s and 1990s, driven by the success of long-running serialized manga that established its reputation in the seinen market, though precise figures from that period remain undocumented in contemporary public records. By the early 2000s, the magazine maintained strong print runs, with Japan Magazine Association data recording an average of 819,334 copies per issue in one early quarterly period. Circulation stood at over 700,000 copies around 2010, reflecting sustained popularity amid the broader manga boom.[23] In the mid-2010s, sales began a gradual decline consistent with the industry's shift toward digital platforms, dropping to 539,500 copies in 2015. By 2020, quarterly averages hovered around 425,000 copies, falling further to 380,000 in 2021 and 278,000 in 2023. The most recent figures show 215,000 copies on average in 2024, with a notable 22.3% year-over-year decrease to approximately 174,000 copies in the April–June 2025 quarter, and similar levels around 174,000 in the July–September 2025 quarter, underscoring ongoing challenges in the print sector despite relative stability compared to other Big Comic family titles, which collectively exceed 500,000 copies in some periods.[3][24][25][7][26][27] The magazine's readership is predominantly adult males in the seinen demographic, with surveys indicating approximately 77% male and 23% female readers as of 2023. The majority of readers are aged 30 or older, targeting working professionals such as company employees who form about 75% of the audience, with a core group in the 30–50 age range. This loyal base sustains circulation through attachment to enduring series, even as competition from online manga services erodes print sales industry-wide.[28][3][29]Content and themes
Target audience and genres
Big Comic Original targets the seinen demographic, focusing on working adults, predominantly males in their 30s to 50s, through narratives centered on everyday life, career challenges, and interpersonal relationships.[30] The magazine's primary genres encompass suspense, historical drama, sports, romance, and slice-of-life, with an emphasis on grounded, realistic storytelling that steers clear of fantasy or shonen tropes in favor of mature, relatable human experiences.[31][32] Thematically, the publication has evolved since its 1970s launch as a supplement to Big Comic, initially featuring more adventure-oriented content, toward a stronger focus on social issues and gourmet stories from the 2000s onward, reflecting its aging readership and contemporary sensibilities.[33][34] To broaden its appeal, Big Comic Original includes diverse perspectives, such as female viewpoints in workplace dramas, contributing to a readership that extends beyond its core male audience.Editorial features and style
Big Comic Original distinguishes itself through its distinctive cover design, which typically features whimsical illustrations of dogs or cats by artist Makoto Muramatsu, paired with a haiku poem selected for its seasonal relevance and literary nuance.[35] This tradition, ongoing since the magazine's early years, adds a poetic and contemplative layer to the publication, often drawing from submissions by readers, editors, or guest contributors during special anniversaries, such as the 40th in 2014 when public haiku and pet photos were solicited for covers.[35] The haiku, adhering to traditional 5-7-5 syllable structure, evokes themes of nature and transience, complementing the magazine's mature tone without overshadowing the manga content. Beyond the manga serials, the magazine incorporates supplementary features that enhance reader engagement, including short essays and columns by emerging writers or specialists, covering topics from cultural observations to personal reflections.[36] These non-fiction pieces, such as serialized essays on culinary curiosities or travel insights, provide intellectual respite and contextual depth to the thematic explorations in the comics. Reader interactions are facilitated through sections publishing impressions and letters, fostering a sense of community, while previews of upcoming chapters tease narrative progressions. Occasional special editions, known as zōkan or increase issues, offer bonus content like extended stories or thematic inserts, expanding on regular bi-monthly releases.[37] Artistically, Big Comic Original emphasizes detailed, realistic linework and shading in its serialized manga, tailored to adult-oriented narratives involving psychological depth, social issues, and human drama, as seen in works influenced by noir and thriller aesthetics.[38] This style prioritizes ongoing serialization for sustained character development over standalone one-shots, allowing artists to build intricate worlds across issues. The bi-monthly schedule—issues released on the 5th and 20th—accommodates longer, more polished chapters, enabling deeper plot layering compared to weekly counterparts. Furthermore, the magazine integrates seamlessly with Shogakukan's publishing ecosystem through cross-promotions, such as adaptations into novels, dramas, or merchandise tied to shared titles across imprints.[6]Serialized manga
Notable artists and their works
Big Comic Original has been home to numerous influential manga artists since its launch in 1972, with 135 series serialized to date, many of which exemplify the magazine's emphasis on mature, character-driven narratives for adult readers.[11] Prominent creators have contributed landmark works that blend humor, drama, and social commentary, often running for decades and shaping the seinen genre's reputation for depth and longevity. Mitsuru Adachi, renowned for his sports and romance stories, serialized the irregular romance manga Jinbē in Big Comic Original from 1992 to 1997, exploring complex family dynamics between a stepfather and stepdaughter in a heartfelt, slice-of-life style that marked a departure from his more youthful Weekly Shōnen Sunday works.[39] He followed this with Bōken Shōnen from 1998 to 2005, a collection of short stories about adult male protagonists facing everyday adventures and reflections, further showcasing Adachi's skill in portraying emotional growth among middle-aged characters.[40] These series contributed to the magazine's appeal by introducing nuanced relational themes to its mature audience. George Akiyama's Haguregumo, a historical action-comedy following a wandering swordsman in Edo-period Japan, holds the record for the longest run in the magazine's history, spanning from December 1972 to September 2017 across 44 years and 112 volumes, blending satirical humor with period drama to critique societal norms.[11] Akiyama's pioneering work established Big Comic Original as a platform for epic, serialized tales that evolved with cultural shifts, influencing subsequent historical manga with its irreverent tone and detailed artwork. Nobuyuki Fukumoto, a master of psychological gambling narratives, debuted his Saikyō Densetsu Kurosawa in Big Comic Original from December 2002 to September 2006, depicting a salaryman's descent into yakuza conflicts and high-stakes bets, renowned for its intense character studies and innovative paneling that captures desperation and redemption. He extended this universe with Shin Kurosawa: Saikyō Densetsu from May 2013 to February 2020, continuing the themes of risk and human frailty in gambling scenarios, solidifying Fukumoto's role in elevating the magazine's profile for tense, introspective thrillers that probe moral ambiguities.[41] The long-running Tsuribaka Nisshi, written by Jūzō Yamasaki and illustrated by Ken'ichi Kitami, began in December 1979 and continues to the present, chronicling the misadventures of two fishing enthusiasts in a lighthearted comedy that uses angling as a metaphor for life's simple joys and workplace escapes, amassing over 140 volumes and inspiring multiple live-action adaptations.[11] This series exemplifies the magazine's strength in enduring, relatable humor, fostering a dedicated readership through its blend of everyday realism and exaggerated antics. Yarō Abe's Shin'ya Shokudō, serialized since 2006, offers episodic slice-of-life tales centered on a late-night diner and its eclectic patrons, incorporating food culture and quiet human connections in a gentle, observational style that has resonated globally, leading to international adaptations while reinforcing Big Comic Original's tradition of understated, empathetic storytelling.[11] These artists, among others like those behind multi-volume epics, have collectively produced works that prioritize psychological depth and thematic maturity, helping the magazine serialize 135 series that balance entertainment with insightful commentary on adult life.[11]Currently running series
Big Comic Original typically serializes around 12-15 ongoing manga series per bi-monthly issue, with chapters ranging from 20 to 40 pages to fit the magazine's format of diverse genres aimed at adult readers.[1] These series span long-running staples and newer additions, often featuring episodic storytelling in comedy, drama, and suspense.| Title | Author(s) | Start Year | Description |
|---|---|---|---|
| Tsuribaka Nisshi (釣りバカ日誌) | Story: Yasuzaki Jūzō; Art: Kitami Ken'ichi | 1979 | This long-running fishing comedy follows the misadventures of two colleagues, Hama-chan and Su-san, as they bond over their passion for angling amidst everyday corporate life.[42] |
| Shinya Shokudō (深夜食堂) | Abe Yarō | 2006 | Set in a small late-night diner in Tokyo, the series presents interconnected short stories about diverse patrons who find solace, nostalgia, and resolution through simple meals prepared by the stoic owner.[43] |
| Tasogare Ryūseigun (黄昏流星群) | Hirokane Kenshi | 1995 | Focusing on middle-aged individuals navigating personal crises, regrets, and unexpected romances, the dramatic narratives explore themes of redemption and human connections in contemporary Japan.[43] |
| Sanchōme no Yūhi (三丁目の夕日) | Saigan Ryōhei | 1974 | This slice-of-life series depicts post-war suburban life in Tokyo's Sanchome neighborhood through the eyes of residents, blending humor and heartfelt moments amid Japan's economic changes.[1] |
| Cecil no Joō (セシルの女王) | Kozaki Ai | 2020 | In Tudor England, young advisor William Cecil maneuvers through the dangerous politics of Henry VIII's court to protect and elevate the future Queen Elizabeth I.[44] |
| Oya GoGoGo (親GoGoGo) | Yoshida Tank | 2023 | A humorous take on family dynamics, the series follows eccentric parents navigating modern parenting challenges with their adult children in a chaotic household.[1] |
| Ike Nai Futari (いけない二人) | Inooka Kazusa | 2024 | This romantic comedy explores the forbidden attraction between two colleagues who must keep their relationship secret amid workplace pressures and personal insecurities.[44] |
| Kōjishi no Ben (公事師の弁) | Story: Tajima Takashi; Art: Hoshino Yasushi | 2024 | A legal drama centered on a shrewd fixer who handles high-stakes corporate disputes, using wit and strategy to resolve conflicts outside the courtroom.[1] |
| Sakyubasu no Tsumatachi (サキュバスの妻たち) | Hosono Fujihiko | 2023 | Blending fantasy and domestic life, the story follows ordinary husbands whose wives reveal themselves as succubi, leading to comedic and supernatural marital escapades.[45] |
| Zatōichi Monogatari Noir (座頭市物語ノワール) | Story: Komazawa Hiroshi; Art: Naba Ayumi | 2025 | A gritty reimagining of the classic blind swordsman Zatoichi, set in a noir-style Edo period, where he confronts corruption and betrayal with lethal precision.[46] |
| Konkurīto no Fune (コンクリートの船) | Murakami Takashi | 2022 | This introspective drama portrays the struggles of construction workers on a massive dam project, examining themes of labor, ambition, and the human cost of progress.[1] |