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Comic BomBom
Cover of the final issue of Comic BomBom
CategoriesChildren's manga (elementary school boys)[1][2][3][4]
FrequencyMonthly
Weekly (Pixiv Comic)
First issueOctober 15, 1981
Final issueNovember 15, 2007
CompanyKodansha
CountryJapan
Based inTokyo
LanguageJapanese
WebsiteComic BomBom at the Wayback Machine (archive index)
Pixiv revival

Comic BomBom (コミックボンボン, Komikku Bonbon) was a monthly Japanese children's manga magazine published by Kodansha and aimed at elementary school boys.[2][5] It was first published on October 15, 1981, and ceased publication in 2007. A web version of the magazine has been published on Pixiv Comic since the end of July 2017.

Similar to its rival magazine CoroCoro Comic, the magazine featured many tie-ins with game and toy manufacturers, but these became fewer and fewer toward the end of the publication period.

History

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Magazine Launch

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The first issue of Comic BomBom was published on October 15, 1981, in response to the monthly CoroCoro Comic (Shogakukan). 2 months later, the second issue was published and the magazine became a monthly publication from then on. It featured hobby manga, gag manga, and Mobile Suit Gundam at its core. The first editor-in-chief, Toshio Tanaka, said in an interview with Channel Kitano that he had originally promised George Akiyama that Spatman X would be made into an anime, and even went so far as to sign an anime deal with Asahi Tsushinsha (later ADK Holdings and ADK Emotions), but the deal was blocked by Shogakukan and never materialized.

Gunpla Boom

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Noticing that the Gundam boom was starting to ignite among elementary school students and younger with gunpla, the magazine began to include features that dealt mainly with Gundam toys. In conjunction with the Plamo-Kyoshiro series centering on fighting with plastic models and kitbashing techniques for existing products, the magazine triggered a huge gunpla boom and had a major impact, including the appearance of Perfect Gundam and other gunpla from this magazine. The magazine also contributed greatly to the development of Mobile Suit Variation, and was said to have value as a Gundam reference material, with Ace Pilot Retsuden being particularly highly rated. Since then, the magazine has had close ties with Gundam. In addition, while many Real Robot anime were created under the influence of Gundam, Fang of the Sun Dougram and Armored Trooper Votoms were also serialized in manga form, and plastic models also appeared in Plamo-Kyoshiro and in special feature articles. For a manga magazine aimed at young children, it is also notable that these model-related articles were included in the magazine for a long time.

During the Nintendo Entertainment System boom, Famicom Fūunji and Famiken Ryū were serialized. During the sticker boom, the magazine competed with CoroCoro's Bikkuriman stickers with Wrestler Gundan stickers and Hiden Ninpōchō stickers, while carrying information on Bikkuriman stickers.

The magazine continued to create a boom by serializing features and manga based on popular franchises such as Transformers, SD Gundam, Mega Man, Super Mario, and Godzilla. Many well-received original manga were also produced. Especially in the SD Gundam BB Senshi series, during the latter half of the Musha Shichinin Shuu Hen and the Chijō Saikyō Hen period, Musha Gundam had overtaken its archrival CoroCoro in terms of circulation for three years from 1991.[6]

Many readers consider any one of these years to be the golden age of the magazine. The specific years vary from generation to generation, but the golden years include the magazine's launch when the media franchising of Mobile Suit Variation was being carried out, the late 1980s to early 1990s, when circulation was said to have been highest due to the SD Gundam boom, and the mid-1990s, when manga with a higher target age range such as Onsen Gappadonba Caparante Densetsu were being produced and when the magazine covered fanatical subjects such as Neon Genesis Evangelion, American comic books (Teenage Mutant Ninja Turtles, X-Men, etc.), and figurines.

Pokémon Boom

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From the mid-1990s onward, rival magazine CoroCoro was a major contributor to the Pokémon boom by launching tie-ins from the time of its release, and doubled its circulation in 1996 from the previous year. BomBom was far behind CoroCoro, which continued to have other strong tie-ins, such as Mini 4WD, B-Daman, Hyper Yo-Yo, Beyblade, Duel Masters, and Mushiking: The King of Beetles, in terms of circulation. In addition, the Mega Man series, which had been published in BomBom for many years, began to tie-in with CoroCoro starting with the Mega Man Battle Network series.

In response, BomBom also took the tie-in route in a losing effort, with titles such as Beast Wars: Transformers, Medabots, Robopon, Crush Gear, Daikaijū Monogatari: The Miracle of the Zone, and Shin Megami Tensei: Devil Children. While some of them had some success, most of them ended with near disastrous results, and even sister publications such as Deluxe BomBom all ceased publication around the late 1990s.

In the late 1990s, the magazine serialized manga works such as Jing: King of Bandits, Okiraku Ninden Hanzō, and Mega Man X that were popular not only among BomBom's primary readers but also among older readers, but due to a change in editor (the return of Shinpachirō Ikeda), Jing was transferred to Monthly Magazine Z and all others were cancelled. Ikeda, the editor-in-chief at the time, said that the change of serialized works was made in order to reduce the fanatical elements that might affect the magazine itself and its target audience.[7]

One theory also suggests that it was not the loss of popularity, but rather the inhospitable treatment of the authors that caused the defection. However, as mentioned above, there were successful tie-in manga and other products, and some argue that the golden age was around 2000, when Medabots, Shin Megami Tensei: Devil Children, and Cyborg Kuro-chan were all in vogue.

Major Overhaul

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Starting with the January 2006 issue, the magazine changed to a larger format, and at the same time, a major overhaul of the magazine and its serialized works was decided. Hobby-related articles were downsized, and the number of authors from other Kodansha magazines increased dramatically. In addition, the logo was changed from the July issue of the same year, and at the same time, the mascot character "B-Gon" on the spine of the tankōbon compilations was changed to a bomb symbol. However, B-Gon was continued to be used for some of the tankōbon that had been published before the renewal, and for Umi no Tairiku NOA vol. 3, which was bound in the same style as the previous editions.

As for additional publications, on September 29, 2006, Abracadabra, which specialized in fantasy, and on October 5, 2006, Gundam Magazine, which specialized in Gundam and had previously been published, were published as BomBom's sister magazines for the first time in 10 years.

However, the renewal did not halt the slump in circulation, and the number of copies published dropped by half, from 100,000 to 50,000.[8] Later, it regained some momentum with the success of Deltora Quest, and in 2007 it made a major push for GeGeGe no Kitarō which was followed by the start of the fifth series of the TV anime. The popularity of SD Gundam has declined, and some consider SD Gundam Musha Banchō Fūunroku and SD Gundam Sangokuden to be treated less favorably than the two series mentioned above. There was also an increase in the number of one-shots, new serials, and works such as Transformers: Cybertron that were cancelled despite the popularity of the anime counterpart. The thickness of the magazine itself was initially thinner than the pre-large format, but gradually became as thick as Monthly Shōnen Gangan and Deluxe BomBom due to changes in the paper quality and the aforementioned one-shots.

Discontinuation

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In late June 2007, manga author Jun Ishikawa made a statement on Mixi and in a diary on his website suggesting that the magazine would cease publication. Although this was not official information, it was circulated on news sites and anonymous bulletin boards, causing a great commotion.[9] On July 17, 2007, Kodansha officially announced that the magazine would end with the December issue, which went on sale on November 15, 2007, due to low circulation, and the November issue of BomBom also announced the ceasing of publication. Most of the manga serialized in the December issue, the final issue, reached their conclusion, and Telemanga Heroes, the supplement magazine of TV Magazine, was published on March 15, 2008 to accept some unfinished works such as Deltora Quest, and some artists who had serialized in BomBom also participated in the magazine.

In conjunction with the discontinuation of BomBom, Kodansha announced the launch of a new junior high school boys' manga magazine, Monthly Shōnen Rival, in the spring of 2008,[2] but unlike the concept of BomBom, Rival's editor-in-chief denied that it was a successor to BomBom.

Gen Satō, who had been at loggerheads with the editorial department for various reasons while serializing Bakushō Senshi! SD Gundam and other titles in the magazine, expressed his regret on his blog on the same day that the cessation of the magazine was announced, interweaving several admonishments with criticisms about the editorial department's practices.[10][11]

A few years after the suspension of BomBom, more and more BomBom works started being reprinted by Fukkan.com. Perhaps influenced by this, Kodansha has also been reprinting titles like Cyborg Kuro-chan and Shin Megami Tensei: Devil Children under the title of Revival BomBom Series since 2012.

Web Revival

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On July 21, 2017, it was reported that the manga that had been published in the magazine will begin to be re-published within Pixiv Comic. In addition to the re-publication, new works such as Kyō no Koneko no Chī and Kutsudaru. were also published. Updates are made every Friday.

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Note: Series with an asterisk next to them were currently running when the magazine ceased publication in Dec 2007.

1980s

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1990s

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2000s

[edit]

References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Comic BomBom

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from Grokipedia
Comic BomBom (コミックボンボン, Komikku Bonbon) was a monthly Japanese magazine published by , targeting children, that ran from its first issue in November 1981 (released on October 15) until its final issue in December 2007 (released on November 15). Launched as a competitor to Shogakukan's , Comic BomBom initially focused on robot anime adaptations, particularly contributing to the " Boom" through serializations like PlaMo Kyōshirō, Super Deformed Gundam, and Musha Gundam. Over its 26-year run, the magazine serialized manga from popular franchises including Rockman (Mega Man), Medarot (Medabots), Metroid, Transformers, and Teenage Mutant Ninja Turtles, often emphasizing action, mecha, and video game tie-ins aimed at young male readers. At its peak in April 1991, Comic BomBom sold 750,000 copies per issue, but circulation declined to around 98,000 copies per month by 2006 and approximately 50,000 by 2007, leading Kodansha to cease publication due to falling readership. The magazine was replaced by Monthly Shōnen Rival in April 2008, which shifted focus to junior high school students. A web version of the magazine was revived on Comic in July 2017, featuring reprints of classic series and new serializations, and continues to publish as of 2025.

Publication Overview

Launch and Publisher Details

Comic BomBom was published by , a prominent Japanese company established in 1910 and widely recognized for its extensive lineup of titles. The magazine debuted on October 15, 1981, initially as a monthly publication targeting young readers. The launch was strategically positioned as a direct rival to Shogakukan's , which had entered the market in 1977 and quickly gained traction among elementary school boys by integrating with promotional content for toys and games. aimed to capture a similar demographic in the competitive children's magazine landscape of the early 1980s. Under founding editor Toshio Tanaka, Comic BomBom was envisioned as a dynamic outlet for elementary school-aged boys, combining serialized with hobby-focused features to leverage the surging interest in plastic model kits and anime series during that era. This approach sought to differentiate it from purely narrative-driven comics while fostering engagement through interactive and collectible elements.

Format, Circulation, and Target Audience

Comic BomBom was primarily targeted at elementary school boys aged 6 to 12, featuring content centered on action-packed stories, toy promotions, and adventure themes designed to engage young hobbyists interested in , , and collectibles. The magazine's readership demographics reflected this focus, with high engagement among male readers under 12, particularly toy collectors and enthusiasts. The magazine adopted a standard A5 format upon its launch in 1981, featuring full-color covers, predominantly black-and-white interiors, and occasional color inserts for special features and advertisements; this was enlarged to B5 size in January 2006 as part of a redesign effort. Pricing was 480 yen per issue throughout its run. Circulation peaked at 750,000 copies per issue in April 1991 during the height of mecha and toy tie-in popularity. It remained above 300,000 copies through the early 1990s before declining to around 320,000 by 1999, supported by serialized manga and promotional content, before further declining to around 98,000 copies by 2006 due to rising digital media competition and shifting youth interests. By its final years, sales had further eroded to approximately 50,000 copies, contributing to the publication's eventual discontinuation.

Historical Development

Inception and Early Competition (1981–1985)

Comic BomBom was launched on October 15, 1981, by as a monthly magazine aimed at elementary school boys, directly positioning itself as a rival to Shogakukan's established , which had debuted four years earlier in 1977. The debut issue, dated November 1981, emphasized content centered on robot anime, particularly adaptations and stories from the popular series, reflecting Kodansha's strategy to capitalize on the ongoing craze in Japanese media. This focus on emerging mecha narratives helped differentiate BomBom from CoroCoro's broader emphasis on games, humor, and mainstream franchises like those by . In its initial years, the magazine faced significant challenges as a late entrant in the competitive children's market, struggling to build readership against CoroCoro's dominant position and more accessible, lighthearted appeal. BomBom adopted a niche approach, prioritizing technical hobby guides on plastic models (plamo) and complex modifications, often with an edgier tone incorporating violence and sensuality, which targeted a more dedicated audience of enthusiasts rather than casual young readers. Editorial strategies included exclusive tie-ins with Sunrise robot anime series, aiming to foster through specialized content that contrasted with CoroCoro's game-heavy promotions. By 1982, the magazine underwent subtle editorial shifts to engage readers more interactively, introducing serialized about the plastic model () building process from February onward, which aligned with the rising popularity of affordable model kits. These features, contributed by creators from Dynamic Pro including , added an anarchic flair to the publication, helping to cultivate a distinct identity amid the rivalry. Despite these efforts, BomBom's slower start underscored the difficulties of penetrating a market where CoroCoro had already secured widespread schoolyard popularity through its versatile mix of and hobbies.

Peak Era: Gunpla and Mecha Boom (1986–1990)

The late 1980s marked the zenith of Comic BomBom's popularity, propelled by the escalating phenomenon and a surge in -themed content that resonated with Japan's burgeoning robot anime fervor. Following the initial wave ignited by the serialization of Plamo Kyoshiro from 1982 to 1986, which showcased innovative model customizations and directly contributed to Bandai's plastic model sales explosion among younger audiences, the magazine intensified its focus on -related features starting in 1985–1986. Dedicated sections on assembly techniques, custom builds, and tie-in promotions with Bandai's expanding line transformed Comic BomBom into a central hub for hobbyists, aligning seamlessly with the era's robot anime boom exemplified by series like (1985–1986) and cross-promotions tied to TV broadcasts that amplified merchandise demand. This period saw key milestones that solidified the magazine's influence. In 1986, the debut of Koji Yoshii's Genzu! SD Gundam four-panel manga introduced the chibi-style Super Deformed Gundam characters, sparking an immediate sub-boom and spawning numerous adaptations serialized exclusively in Comic BomBom. From 1987 to 1989, the publication incorporated reader polls to gauge preferences for mobile suit designs, directly informing Bandai's releases and MSV (Mobile Suit Variation) expansions, fostering a that boosted engagement and sales. By 1990, editorial content had expanded significantly, with issues routinely exceeding 200 pages to accommodate denser serials, hobby guides, and color inserts promoting merchandise. Circulation reflected this momentum, surpassing 300,000 copies monthly by 1988 and reaching approximately 500,000 monthly in 1989 amid the sustained hype. The synergy with not only drove Comic BomBom's growth but also enhanced Kodansha's revenues through lucrative advertising tie-ins and co-branded promotions, as the magazine became a key marketing channel for kits amid the 1980s' robot saturation. This era's content shifts—prioritizing interactive features over standalone stories—cemented the publication's role in bridging , , and toys, though it remained tightly focused on trends without venturing into broader diversification.

Diversification and 1990s Challenges (1991–2000)

In the early 1990s, Comic BomBom sought to broaden its content beyond the dominant and focus of the previous decade by incorporating sci-fi narratives, super robot features, and initial collaborations. This diversification included ongoing international tie-ins, such as continued serialization of Transformers manga adaptations, which had been a staple since the mid-1980s but saw renewed emphasis amid shifting toy markets. The magazine also experimented with American comics and anime crossovers like specials, aiming to attract a wider elementary school audience while maintaining its hobby-centric identity. By the mid-1990s, however, the Pokémon phenomenon severely impacted Comic BomBom's market position. Rival capitalized on the 1996 launch of Pokémon Red and by securing exclusive tie-ins, including manga serializations and promotional content that fueled the franchise's boom and doubled CoroCoro's circulation to over 1 million copies. In contrast, Comic BomBom's reluctance to pursue similar mainstream game tie-ins led to stagnation; its circulation, which had peaked at around 750,000 in 1991, stabilized at approximately 300,000 by the decade's end without significant growth. This shift eroded BomBom's hobby model kit emphasis, as readers increasingly favored CoroCoro's accessible and RPG integrations. Efforts to adapt in the late 1990s included refocusing on niche robot customization titles like Medarot to counter Pokémon's dominance. Medarot, launched that year, emphasized modular inspired by traditions, serializing in BomBom to promote its game and appeal to creative play. Despite these initiatives, broader challenges persisted, including intensified competition from TV tie-ins that prioritized mass-market appeal over detailed hobby guides, further diluting BomBom's core strengths.

Decline, Overhaul, and Discontinuation (2001–2007)

In the early 2000s, Comic BomBom faced intensifying challenges from the burgeoning popularity of and the sustained dominance of rival publications like , which capitalized on the Pokémon franchise's explosive growth. These factors contributed to a sharp decline in readership among elementary school boys, the magazine's core audience, as interactive online content and video games increasingly competed with print and hobby guides. By 2006, monthly circulation had dropped to approximately 98,000 copies, a significant fall from the peak of over 700,000 in the early 1990s. To address the slump, implemented a major overhaul starting with the January 2006 issue. The magazine shifted from its traditional A5 format to the larger B5 size, featured a revamped logo, and halved its page count to streamline production and costs while emphasizing full-color serializations over extensive sections. Despite these changes, including efforts to maintain the cover price at 480 yen, the redesign failed to reverse the trend, with circulation halving to around 50,000 copies per month by 2007. The persistent low sales and shifting youth interests toward prompted to announce the magazine's discontinuation on July 17, 2007. The final issue, dated December 2007, went on sale November 15, 2007, marking the end of 26 years of print publication due to unprofitability. In a partial pivot to digital platforms, select serializations like Umi no Tairiku NOA+ transitioned to 's webcomic site MiChao!, though this did not extend the magazine's lifespan.

Content and Features

Serialized Manga and Storytelling Style

Comic BomBom's serialized emphasized short, episodic chapters typically spanning 10 to 20 pages, designed to maintain reader engagement through cliffhangers and fast-paced narratives that concluded major plot points within each monthly installment while advancing overarching stories. This structure catered to young elementary school boys, prioritizing heroic boys' adventures filled with high-stakes action sequences, intricate gadgetry, and explosive battles, often blending absurd humor or violent confrontations to heighten excitement. Storytelling tropes frequently revolved around underdog protagonists piloting customizable or using innovative tools to overcome overwhelming odds, reflecting the magazine's roots in promoting dynamic, toy-inspired escapism. Issues typically exceeded 700 pages, including serialized , hobby guides, and advertisements. Serialization norms in Comic BomBom involved most series running for 1 to 3 years, with new titles introduced to test reader interest before full commitment. Each monthly issue featured 11 to 12 ongoing works, allowing for a diverse rotation that balanced short-term gag pieces—often resolving in 1 to 2 issues—with longer arcs spanning over a year, such as sumo-themed sports comedies or horror-infused adventures. This approach ensured accessibility for young readers, with creative liberties taken in adaptations of games or to incorporate promotional elements without disrupting narrative flow. Artistically, the magazine showcased a range of styles influenced by collaborations with toy companies like , which required precise depictions of plastic model kits and designs to align with merchandise releases, as seen in series promoting models. Chibi (super deformed or SD) aesthetics were commonly employed for humorous interludes within genres, exaggerating proportions for comedic effect while maintaining detailed action panels for battles. From the through the , a notable trend involved integrating reader-submitted and ideas, such as boss designs for game tie-ins, directly into story developments to foster community involvement. The genre focus leaned heavily toward and sci-fi, comprising the majority of content with robot warfare and futuristic gadgetry themes, supplemented by (often gag-driven parodies) and hybrid sports or horror elements that infused everyday hobbies with twists. This emphasis mirrored the era's toy and booms, ensuring serialized served as engaging extensions of promotional tie-ins.

Hobby Guides, Promotions, and Tie-Ins

Comic BomBom emphasized practical hobby content through detailed instructional articles on plastic model (plamo) building, with a strong focus on kits from the franchise. These guides offered step-by-step assembly tutorials, painting techniques, and customization suggestions, helping young readers develop skills in model kit construction and modification. The magazine's serialization of the manga Plamo-Kyoshiro, which depicted competitive model building adventures, reinforced this educational aspect by blending narrative storytelling with real-world hobby tips. Promotions and contests were central to the magazine's interactive appeal, encouraging reader participation through submissions of custom models and designs. For instance, a 2004 contest solicited original mobile suit concepts from readers, receiving over 2,000 entries; the winning "Thunder " design, equipped with a , was featured in the magazine and commercialized as an official capsule toy product. Issues frequently included bundled incentives like promotional stickers and trading cards, often tied to ongoing series, to reward subscribers and boost engagement. Commercial tie-ins with major toy companies such as and amplified the magazine's reach, featuring exclusive advertisements, product previews, and collaborative content. These partnerships extended to serialized adaptations of Bandai's lines and Takara's Transformers series, providing early looks at new toys and models to drive sales among the of elementary boys. During the , Comic BomBom shifted toward content amid the rise of home consoles, incorporating strategy guides and walkthroughs for popular titles. Special editions, such as the 1986 Comic BomBom Special for the Famicom game Transformers: Mystery of Convoy, included detailed tips, maps, and boss strategies to assist players. By the late , these non-fiction sections had become a staple, complementing the hobby focus with advice on games like Medarot and Rockman. The "BomBom Club" functioned as a dedicated interactive column for reader correspondence, where submissions of letters, questions about hobbies or games, and photos of personal models received direct editorial replies, fostering a sense of community among fans.

Notable Publications

1980s Series

The 1980s series in Comic BomBom played a pivotal role in solidifying the magazine's reputation as a hub for mecha-themed manga, heavily emphasizing robot adventures tied to popular anime and toy lines like Bandai's Gunpla models. The magazine's content during this decade often focused on mecha narratives, synchronizing with contemporaneous anime broadcasts to capitalize on cultural trends. One of the foundational titles was Plamo-Kyoshiro (1982–1986), a model-building adventure that pioneered the integration of hobby culture with serialized storytelling. Created by story writer Hisashi Yasui and artist Koichi Yamato, it centered on young Kyoshiro, a passionate model enthusiast who enters virtual battles using customized kits, blending high-stakes combat with educational elements on assembly and modification techniques. This series kickstarted Comic BomBom's hobby- synergy, directly fueling the early boom by inspiring readers to engage with real-world model kits. The SD Gundam series (1987–1990), particularly Bakusho Senshi! SD Gundam, further entrenched the magazine's mecha identity through chibi-style adaptations that parodied the Mobile Suit Gundam franchise. Illustrated by Gen Sato, these comics featured super-deformed (SD) versions of iconic mecha like the RX-78-2 Gundam in absurd, humorous scenarios—such as knights in feudal Japan or fantasy quests—while tying into ongoing anime airings like Z Gundam. Running from March 1987 to November 1990 in the magazine (as part of a broader 1982–1992 arc), the series significantly boosted Gunpla sales by making complex mecha accessible and fun for elementary school audiences, with collected volumes exceeding 1 million copies sold overall. Other notable 1980s mecha titles included early Transformers comics (1986–1987), which adapted Hasbro's transforming robots into action-packed stories aligned with the anime's Japanese broadcast, and adaptations like Getter Robo Go precursors in the late decade, expanding the magazine's roster beyond Gundam to broader super robot genres. These series collectively established Comic BomBom as the go-to platform for mecha enthusiasts, promoting cross-media tie-ins that drove toy and merchandise engagement.

1990s Series

The 1990s marked a period of genre diversification in Comic BomBom's serialized , shifting from the magazine's earlier emphasis on to incorporate more sci-fi narratives and adaptations of video games, appealing to a broadening audience of young readers interested in . This expansion reflected the growing popularity of console gaming in during the decade, with series that blended action, , and original storylines inspired by popular franchises. Notable examples included adaptations that introduced digital and robotic themes, fostering cross-media tie-ins without relying solely on traditional promotions. The magazine increasingly featured game-related during this era. One prominent video game adaptation was the Rockman (Mega Man) manga series, which featured original stories expanding on the Capcom games. For instance, Rockman 6, illustrated by Shigeto Ikehara, was serialized from October 1993 to December 1994, depicting 's battles against new robotic foes in a sci-fi setting with added narrative depth. Similarly, Rockman 8 by Kōji Izuki ran from February 1997 to March 1998, compiling into two volumes that explored advanced weaponry and villain plots beyond the game's script. Medabots (Medarot), a robot battle series by Horumarin, exemplified the era's fusion of sci-fi and toy-linked storytelling, serialized from 1997 to 2000 across multiple arcs that followed young protagonists customizing and competing with customizable . The , starting with its debut chapter in the June 1997 issue, spanned over 50 chapters in its initial runs, significantly boosting the franchise's visibility and contributing to widespread adoption among children. Its detailed episode arcs, such as tournament battles and character growth, highlighted themes of friendship and strategy in a digital world, influencing the overall media ecosystem. Other notable 1990s serializations included by Naoki Yokouchi, which debuted in September 1997 and ran through the decade, presenting a comedic sci-fi tale of a cat fighting crime with high-tech gadgets and humor. This series expanded the magazine's scope into lighter, character-driven sci-fi, running for 11 volumes and appealing to readers seeking alternatives to intense action narratives. The magazine also serialized Teenage Mutant Ninja Turtles from October 1993 to September 1996, adapting the American franchise into action stories for young readers.

2000s and Post-Revival Works

In the early 2000s, Comic BomBom continued its tradition of serializing action-oriented tied to popular and toy franchises, though the magazine's output reflected a period of transition amid declining circulation. The series , a comedy-action story about a robotic cat created by Naoki Yokouchi, concluded its primary run in the magazine after spanning from 1997 to 2001, with 56 chapters collected into 11 volumes. This marked one of the last major long-form successes in the print era before shorter serializations became more common. Notable 2000s publications included adaptations of international franchises, such as the Transformers: Beast Wars Metals manga by Shōji Imaki, which ran from October 1999 to March 2000 and adapted the Japanese broadcast of the Beast Wars Transmetals storyline, emphasizing robotic beast battles. Similarly, Metroid EX: Samus & Joey by Kouji Idzuki, a sequel to the earlier Samus and Joey manga, featured original stories expanding on the universe with bounty hunter and her young companion Joey facing alien threats; it serialized from May 2004 to April 2005 across 12 unreprinted chapters. By the mid-2000s, an overhaul in January 2006 increased the magazine's format to B5 size, aiming to refresh its appeal, but this coincided with shorter runs for many series—often limited to 10-20 chapters—as the publication navigated competitive pressures from and rival titles. Following the print discontinuation in December 2007, Comic BomBom revived as a digital platform on pixiv Comic starting July 21, 2017, shifting to web-friendly formats with weekly Friday updates of shorter, episodic content. The revival emphasized reprints of classics like Cyborg Kuro-chan and SD Gundam alongside new original works, such as Kyō no Koneko no Chī, a lighthearted cat adventure manga following the daily exploits of a mischievous kitten named Chī in a whimsical world. Other digital-exclusive shorts, including YouTuber-themed stories like Hajime Shacho no Yūchūbā na Nichijō, adopted concise, vertical-scroll formats suited for online reading, fostering a community-driven revival through platforms like BomBom TV on Twitter. This post-revival era prioritized accessibility and brevity, with series often structured in 10-20 page installments to engage modern young audiences.

Legacy and Modern Iterations

Cultural Impact and Influence

Comic BomBom played a pivotal role in boosting the toy industry during the , particularly through its promotion of 's plastic model kits, known as . The magazine's serialization of like Plamo Kyōshirō, which centered on young plastic model builders competing in hobby contests, directly fueled the Gunpla boom by encouraging readers to engage with model assembly and customization. This significantly boosted the Gunpla boom, with Bandai producing and selling millions of units in the early , transforming plastic modeling from a niche into a mainstream phenomenon among Japanese youth. In the realm of , Comic BomBom helped popularize super deformed (SD) styles and subgenres, most notably through its serialization of series such as Musha Gundam and Red Warrior V. These features anthropomorphized designs, blending humor with action to appeal to younger audiences and expanding the franchise's creative boundaries beyond realistic robot narratives. The magazine's introduction of the Mobile Suit Variation (MSV) series further influenced subsequent iterations by canonizing fan-favorite designs not featured in the original , inspiring creators in the genre to incorporate diverse, community-driven elements into modern works. The publication fostered hobby communities among Japanese youth by integrating interactive elements like model-building guides, reader-submitted artwork, and contests tied to serialized features, creating early networks of dedicated fans. In the , as subcultures emerged amid Japan's economic shifts and media saturation, Comic BomBom's emphasis on immersive engagement with toys and contributed to the formation of these youth groups, where boys bonded over shared passions for customization and franchise expansions. highlight how such magazines shaped the "" identity by normalizing obsessive hobbyism as a form of creative expression and social affiliation. Comic BomBom's rivalry with Shogakukan's drove innovation in the boys' media landscape, as the two publications vied for dominance in circulation and content. At its peak in 1991, BomBom outsold CoroCoro with 750,000 copies per issue, prompting CoroCoro to diversify with tie-ins to emerging franchises like Pokémon to regain . This competition elevated standards for interactive, toy-promotional , ultimately shaping the structure of children's media by prioritizing crossovers and reader involvement.

Reprints and Digital Revival

Following the discontinuation of the print magazine in 2007, several reprint projects emerged to make classic Comic BomBom content accessible again. Fukkan.com, a specialist in reviving out-of-print publications, began reissuing select titles originally serialized in the magazine during the and 2000s, often in compact bunko (pocket-sized) formats suitable for collectors. Notable examples include the Rockman Mega Mix series (reprinted in six volumes starting in 2015) and Umi no Tairiku NOA (two volumes plus uncollected works), both of which originated from Comic BomBom's heyday of and adventure . Fukkan.com's efforts extended to the dedicated "Revival BomBom Series" (Fukkatsu Bonbon Shirīzu), launched around 2012, which focuses on high-demand Comic BomBom works through a community voting system to prioritize reprints. This initiative has resulted in new editions of titles like Ganndorannda: Nima Fu no Seiken Hen and various SD Gundam adaptations, preserving the magazine's signature blend of mecha and hobby-themed stories in affordable bunko bindings. While Kodansha, the original publisher, has not spearheaded a broad revival line, these Fukkan.com projects often involve licensing from Kodansha to ensure authentic reproductions. In parallel, a digital revival brought Comic BomBom back as an on the Comic platform, launching on July 21, 2017. This web version features weekly updates combining archived classics—such as , Herokun, and entries—with new serialized content tailored for modern readers. As of November 2025, the platform hosts 17 ongoing works, including user-generated series like Hajime Shacho no na Nichijou and BomBom TV no na Nichijou, which integrate contemporary themes like culture into the magazine's traditional boy-oriented adventure style. The digital format emphasizes accessibility through 's app and web integration, allowing seamless reading on mobile devices and encouraging submissions to expand beyond original material. Despite these innovations, the revival remains confined to online niche communities, with no announcements of a return to print editions as of 2025.

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