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Jump (magazine line)
Jump (magazine line)
Jump (magazine line)
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Jump (ジャンプ, Janpu), also known as Jump Comics, is a line of manga anthologies (manga magazines) created by Shueisha. It began with Shōnen Jump manga anthology in 1968, later renamed Weekly Shōnen Jump. The origin of the name is unknown. The Jump anthologies are primarily intended for a teen male audiences, although the Weekly Shōnen Jump magazine has also been popular with the female demographic.[1] Along with the line of manga anthologies, Shōnen Jump also includes a crossover media franchise, where there have been various Shōnen Jump themed crossover anime and video games (since Famicom Jump), which bring together various Shōnen Jump manga characters.

Key Information

History

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In 1949, Shueisha got into the business of making manga magazines, the first being Omoshiro Book.[2] In 1951, Shueisha created a female version of that anthology entitled Shōjo Book.[3] Shōjo Book led to the publication of the highly successful Shōjo manga magazine: Ribon.[3] Omoshiro Book went out of print and Shueisha decided to make another male version of their successful Shōjo Book to even it out and made the magazine Shōnen Book.[3] In the middle of Shōnen Book's publication, Shōnen Jump began its run (at the time was a Semiweekly magazine and had no "Weekly").[4] Shōnen Book ended when Shōnen Jump became a Weekly magazine correctly changing its name to Weekly Shōnen Jump.[4] In 1969, a special issue called Bessatsu Shōnen Jump took Shōnen Book's place.[4] In addition to the success of Weekly Shōnen Jump, Shueisha created a Seinen version of the magazine in 1979, called Young Jump (now Weekly Young Jump).[5] Bessatsu Shōnen Jump, later got renamed Monthly Shōnen Jump and became a magazine of its own.[4] The seasonal issues of Weekly Shōnen Jump are now called Akamaru Jump. In 1985, Shueisha started the publication of two business related manga magazines; a salaryman Jump magazine called Business Jump and an office lady manga magazine called Office You,[5] also in 1988 started the publication of Super Jump.[6] Many other Seinen related Jump magazines, started as spin-off issues of the Weekly Young Jump magazine.[5] In 1993, Shueisha announced and released the video game/manga magazine V Jump alongside the Jump light novel line Jump j-Books.[6] In 2003, Shogakukan's Viz Media released an English version of Weekly Shōnen Jump called Shonen Jump.[7] Monthly Shōnen Jump discontinued in 2007, and was replaced with the Jump SQ. magazine, four series from the magazine were moved.[8] In addition to the Jump SQ. anthology, a spin-off issue was created, called Jump SQ.II (Second).[9] Saikyō Jump was started on December 3, 2010, with close ties to Weekly Shōnen Jump and V Jump.[10]

Jump magazines

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  • Green titles in sub-magazines have only been published once.
  • See Shōnen manga and Seinen manga for details of classification.

Shōnen

[edit]
Magazine title Sub-magazines Date Time-unit
Weekly Shōnen Jump
October 1969 – present Weekly
V Jump Saikyō Jump 1993 – current Monthly
Jump Square
  • Jump SQ.II (Second)
  • Jump SQ.19
  • Jump SQ.Crown
  • Jump SQ.Lab
  • Jump SQ.Rise
 December 2007 – current Monthly
Saikyō Jump none December 3, 2010 – current Monthly
Shōnen Jump+ none September 22, 2014 - current Monthly, semimonthly, weekly
Shōnen Jump GIGA none July 20, 2016 – current Irregularly
Jump TOON none May 29, 2024 – current [11] Weekly
Shōnen Jump Bessatsu Shōnen Jump July 2, 1968 – 1969 Semiweekly
Monthly Shōnen Jump
February 1970 – June 2007 Monthly

Seinen

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Magazine title Sub-magazines Date Time-unit
Weekly Young Jump Weekly Young Jump Tokubetsu Zōkan Mankaku Rookies
Weekly Young Jump Zōkan Mankaku
Young Jump Chō Zōkan: Ultra Jump

Miracle Jump Tonari no Young Jump

 May 1979 - current Weekly
Ultra Jump Ultra Jump Zōkan 1999 - current Monthly
Miracle Jump none May 2008 - current Monthly
Grand Jump Grand Jump Mucha, Grand Jump Mecha November 2011 - current Semimonthly
Tonari no Young Jump none June 14, 2012 - current Monthly
Business Jump BJ Kon July 1985 - November 2011 Monthly
Super Jump Oh Super Jump December 1986 - November 2011 Semimonthly
Manga Allman none October 1995 - February 2002 Semiweekly

International

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Further information: Weekly Shōnen Jump § International adaptations

Imprints

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When the chapters of a manga series originally serialized in a Jump magazine are collected and published into tankōbon form, they are given different imprints depending on its original magazine or type of tankōbon.

Jump Comics

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Jump Comics (ジャンプコミックス, Janpu Komikkusu), abbreviated JC, is the most common imprint used for tankōbon editions of manga series serialized in Weekly Shōnen Jump and other Jump magazines.[12] The Jump Comics line is published in English by Viz Media 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 and Death Note.

Jump Comics+ is the tankōbon imprint for manga series originally released digitally-only on the Shōnen Jump+ app and website. Jump Comics Deluxe (ジャンプコミックスデラックス, Janpu Komikkusu Derakkusu) is an aizōban imprint formerly run by Weekly Shōnen Jump. The seinen manga anthology Super Jump has taken hold of the line and publishes their manga under it. These manga volumes have expensive paper and new cover artwork. The Jump Comics Deluxe edition of Rurouni Kenshin has been released in English by Viz under the title Rurouni Kenshin VIZBIG Edition.

Jump Comics Digital is an additional imprint added to manga from any Jump magazine when it is published digitally. Jump Comics SQ. is the imprint for manga series originally run in the Jump Square magazine. V Jump Comics (Vジャンプコミックス) was the imprint for manga originally serialized in the V Jump magazine, but they now use the Jump Comics imprint instead. Young Jump Comics (ヤングジャンプ・コミックス) is the imprint for series originally run in the seinen manga magazines Weekly Young Jump, Business Jump and Ultra Jump.

Jump J-Books

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Jump J-Books (ジャンプ ジェイ ブックス, Janpu Jei Bukkusu), commonly referred to as J-Books, is a line of light novels and guidebooks run by Weekly Shōnen Jump. J-Books has run almost ever since the manga Dr. Slump appeared in the 80's, the line is still running and had many series adapted for novels. Jump J-Book have been published in English by Viz Media under the name SJ Fiction.

Shueisha Comic Bunko

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Shueisha Comic Bunko (集英社文庫コミック, Shūeisha Bunko Komikku) is a bunkoban imprint run by Weekly Shōnen Jump. Bunkoban editions have different cover artwork and different cheaper paper.

Shueisha Jump Remix

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Shueisha Jump Remix (集英社ジャンプリミックス, Shūeisha Janpu Rimikkusu), abbreviated as SJR, is a line of large square-bound phone book size issues of early Jump Comics series. They often include special features like original artwork and info. Shueisha Jump Remix is an arm of Shueisha Remix; other types Shueisha REMIX's exist like Shueisha Girl's Remix and Shueisha Home Remix

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Jump Festa

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Main article: Jump Festa

Jump Festa (ジャンプフェスタ, Janpu Fesuta) is a manga and anime exposition held every year by Shueisha. It focuses on all of the publisher's shōnen-related Jump magazines: Weekly Shōnen Jump, V Jump, Jump SQ., Saikyō Jump, and Shōnen Jump+.[13] Also the video game company, Square Enix promotes their games at Jump Festa, due to their close ties with the V Jump magazine.

Video games

[edit]

The Jump media franchise includes the following video games, published by Bandai and Bandai Namco Entertainment:

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Jump (magazine line)

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from Grokipedia
Jump is a prominent line of manga magazines published by the Japanese company Shueisha, primarily targeting a young male (shōnen) audience with serialized action, adventure, and fantasy stories. The flagship title, Weekly Shōnen Jump, debuted on August 1, 1968, as a weekly anthology to compete with rival publications like Weekly Shōnen Magazine and Weekly Shōnen Sunday, quickly becoming one of the world's best-selling manga magazines with circulations exceeding millions of copies per issue at its peak. Over time, the line expanded to include monthly and digital formats, such as V Jump (launched May 1993, focusing on video games and adaptations), Jump Square (launched November 2007, emphasizing seinen-style narratives after replacing Monthly Shōnen Jump), Saikyō Jump (launched December 3, 2010, as a bimonthly for all-ages content), and the digital Shōnen Jump+ (launched September 22, 2014, offering simultaneous global releases). The Jump line has defined modern manga culture through its innovative serialization model, where series compete for reader votes via popularity polls, leading to high-stakes debuts and cancellations that keep content fresh and engaging. This system propelled iconic franchises like Dragon Ball, One Piece, Naruto, and My Hero Academia to global phenomenon status, with Weekly Shōnen Jump alone serializing over 500 series since inception and contributing to Shueisha's international expansion via platforms like MANGA Plus. Events such as Jump Festa, an annual convention highlighting the line's five core magazines (Weekly Shōnen Jump, Shōnen Jump+, V Jump, Jump Square, and Saikyō Jump), underscore its cultural impact, drawing over 100,000 fans annually for live announcements, voice actor panels, and merchandise. Beyond print, the Jump brand has adapted to digital and multimedia, with Shōnen Jump+ boasting original series that outperform traditional print in views and with tie-ins to , games, and films driving billions in revenue. Its influence extends to over 80 countries, where translated editions and apps like provide free access to new chapters, fostering a worldwide community while maintaining Shueisha's commitment to high-quality, action-oriented storytelling.

History

Origins and launch

Shueisha, founded in 1925 as the entertainment division of Shogakukan and independent by 1926, entered the manga magazine market in the postwar era with Omoshiro Book in 1949, a general entertainment anthology that served as an early platform for serialized stories aimed at young readers. This publication laid foundational editorial practices for Shueisha's future titles, blending with other content to appeal to a broad juvenile audience. In 1951, Shueisha launched Shōjo Book, a counterpart targeting adolescent girls with romance and everyday-life narratives, which evolved into the long-running magazine by 1955. Building on these efforts, introduced Shōnen Book in March 1958 as a monthly for boys, featuring adventure and that directly influenced the Jump line's development. This magazine emphasized reader surveys to gauge popularity, a method that would become central to 's serialization strategy, and ran until , providing a testing ground for mangaka and editorial teams. By the late , amid competition from established rivals like Weekly Shōnen Magazine and Weekly Shōnen Sunday, sought to consolidate its shōnen offerings. Shōnen Jump debuted as a monthly anthology on July 11, 1968, drawing staff and approaches from Shōnen Book to focus exclusively on for elementary school-aged boys. The initial editorial vision, shaped by reader feedback mechanisms like ankēto (questionnaires), prioritized action-oriented stories promoting themes of friendship, effort, and triumph to engage young male readers through ongoing serializations rather than one-shots. Transitioning to a weekly format in October 1969 and renaming to , the magazine quickly gained traction with controversial yet popular series like , which boosted its visibility despite censorship challenges. By 1970, had achieved a circulation exceeding 1 million copies weekly, marking rapid growth in a saturated market and surpassing some competitors within five years. This milestone reflected the effectiveness of its serialization model and hits from creators like , setting the stage for further expansion while establishing Shueisha's dominance in .

Expansion and diversification

Following the initial success of its shōnen titles, expanded the Jump line into the seinen demographic with the launch of on May 17, 1979, as a biweekly publication that later became weekly, targeting older male readers with more mature themes and narratives suited to adult audiences. In 1985, introduced as its first salaryman-oriented magazine, aimed at working professionals with business-themed stories, followed by in December 1986 as a biweekly seinen anthology focusing on serialized for mature readers; both titles were later merged into in 2011 amid declining sales and industry consolidation. The marked the peak of Weekly Shōnen Jump's popularity, achieving a circulation of over 6.53 million copies per week by 1995, driven by blockbuster series such as and that captured widespread cultural attention and boosted the overall Jump brand's influence. By the 2000s, the Jump line faced challenges from intensifying competition and shifting reader preferences, resulting in declining print sales; this led to the discontinuation of in June 2007 after 23 years, with its successor launching on November 2, 2007, to offer a mix of shōnen and seinen content in a monthly format. To further diversify, created in October 1999 as a monthly seinen magazine emphasizing adult-oriented stories, evolving from special issues of to provide space for complex, genre-spanning works. Complementing this, Miracle Jump debuted in 2011 as a bimonthly experimental outlet, restarting from the short-lived Monthly Young Jump (launched 2008) to feature innovative and unconventional by creators like those behind and .

Digital transformation and recent developments

In the 2010s, initiated the Jump line's digital pivot with the launch of on December 3, 2010, a monthly magazine targeted at younger readers featuring original series and spin-offs from established Jump titles. This was followed by the introduction of Shōnen Jump GIGA in July 2016 as a quarterly publication, serving as a testing ground for new serialization formats and one-shots beyond the weekly print cycle. The most significant milestone came with the debut of the Shōnen Jump+ app on September 22, 2014, a digital-first platform providing free access to the first three chapters of series and paid options for full volumes, alongside original digital-exclusive . By 2020, Shōnen Jump+'s digital readership had surpassed the print circulation of , driven by mobile accessibility and simultaneous releases, amid a broader industry shift where print sales fell below 1.5 million copies per issue. This digital emphasis intensified in the 2020s, exemplified by the May 29, 2024, launch of Jump TOON, a webtoon-style app dedicated to vertical-scrolling, full-color to attract global audiences accustomed to platforms like . Concurrently, declining print sales prompted aggressive lineup changes in , with nearly 10 series cancellations announced in 2025 alone, including titles like those ending in issues 47 and beyond, as prioritized high-performing digital originals. Jump+ originals such as exemplified this growth, amassing over 350 million views by 2022 and contributing to the platform's revenue surge, which offset print losses through ad-supported free reads and subscriptions. International expansion accelerated via partnerships with Viz Media, Shueisha's North American affiliate, enabling global digital access to Jump titles through apps like Shonen Jump and VIZ Manga, which by 2023 offered simultaneous English translations to over 20 countries and reduced piracy. Recent developments include Shōnen Jump+'s 10th anniversary celebrations from September 2024 through May 2025, featuring a Tokyo exhibition of original artwork and events highlighting over 370 digitized titles from the Jump catalog, underscoring the platform's evolution into a multimedia hub with 29 million downloads.

Jump magazines

Shōnen magazines

The Shōnen magazines under the Jump line, published by , primarily target young male readers with action-oriented, adventurous content, spanning weekly, monthly, and digital formats to cater to various age groups within the demographic. These publications emphasize serialized stories, one-shots, and supplementary materials like game tie-ins or spin-offs, fostering a broad ecosystem for emerging and established creators. Weekly Shōnen Jump, the flagship publication, was launched on July 11, 1968, and issues weekly, targeting boys aged 12 to 18 with high-energy action series such as One Piece and My Hero Academia. It features competitive serialization where series vie for popularity through reader surveys, driving its global influence with translations in over 80 countries. Circulation has historically exceeded 1 million copies per issue, with 1,047,500 copies as of April–June 2025, underscoring its role as the cornerstone of the Jump brand. V Jump, established in 1993 and published monthly, focuses on video game adaptations and tie-ins from popular Jump franchises like Dragon Ball, aimed at younger readers aged 6 to 15, with 69% of its audience in elementary or middle school. Notable features include exclusive game announcements, promotional cards, and supplementary manga, blending gaming culture with shōnen narratives to appeal to tech-savvy preteens. Jump Square, debuting in November 2007 as a monthly anthology, bridges shōnen and seinen styles but centers on adventure tales for teens and young adults aged 16 to 21, featuring series like Blue Exorcist and World Trigger. It offers a more mature tone than Weekly Shōnen Jump, with 30.2% of readers aged 25-29 and serialized works that emphasize intricate plots and character development over rapid pacing. Saikyō Jump, launched in December 2010 and issued monthly, simplifies content for elementary school boys aged 6 to 12, with 58.5% upper elementary readership, including spin-offs, gag comics, and collectible cards from hits like . Its features prioritize accessible, fun stories and merchandise integrations to engage early readers in the Jump universe. Shōnen Jump+, a digital platform introduced on September 22, 2014, operates as a app and serializing original series alongside reprints from print magazines, targeting shōnen audiences with interactive elements like user voting. It has expanded to include diverse genres, boasting millions of users and hits like , while supporting creator submissions for broader accessibility. Shōnen Jump GIGA, rebranded in July 2016 from Jump NEXT! and released quarterly, specializes in fantasy and spin-off stories for shōnen readers, featuring extended one-shots and bonus chapters from series like Black Clover. Its seasonal format allows for experimental narratives, with each issue highlighting thematic arcs to test potential serials. Jump TOON, launched on May 29, 2024, as a digital webtoon service, delivers vertical-scrolling, full-color manga for a global shōnen audience, emphasizing fast-paced action suited to mobile reading. It includes original titles and creator tools via Jump TOON NEXT, aiming to capture international trends with over 30 debut series. Among defunct titles, ran from May 1970 to July 2007 as a monthly publication for teen boys, serializing adventure before declining sales led to its merger into . Bessatsu Shōnen Jump, a short-lived from , served as an experimental supplement to the weekly flagship, testing early shōnen concepts amid the line's formative years.

Seinen magazines

Shueisha's expansion into seinen magazines marked an early diversification from its shōnen-focused origins, targeting adult male readers with more mature themes beginning in the late 1970s. The flagship of this line, Weekly Young Jump, launched in 1979 and remains in publication as a weekly anthology. It features adult-oriented dramas, slice-of-life stories, and action series with complex narratives, such as the historical epic Kingdom by Yasuhisa Hara, which explores themes of war and ambition in ancient China. In 1999, Shueisha introduced Ultra Jump as a monthly magazine, evolving from special issues of Weekly Young Jump and emphasizing science fiction, fantasy, and supernatural tales for mature audiences. Notable serializations include Hirohiko Araki's JoJo's Bizarre Adventure series, known for its intricate world-building and philosophical undertones. Miracle Jump, originally launched as Monthly Young Jump in 2008 and rebranded in 2011, operates on an irregular schedule and specializes in experimental and niche seinen works that push creative boundaries. It provides a platform for unconventional storytelling, often with limited print runs to test reader interest. Grand Jump, established in 2011 through the merger of two prior titles, publishes semi-monthly and focuses on historical fiction, realistic dramas, and character-driven narratives. Series like Vagabond by Takehiko Inoue exemplify its emphasis on introspective tales drawn from real historical figures. Launched digitally in 2012, Tonari no Young Jump serves as an online platform for serialized seinen manga, offering web-exclusive content with mature themes accessible via Shueisha's website. It includes series such as One-Punch Man and original works blending action and drama. Among defunct titles, Business Jump ran from 1985 to 2011, concentrating on business-themed stories and professional life dramas aimed at salarymen. Super Jump, active from 1986 to 2011, specialized in mature seinen content including ecchi and thriller elements. Finally, Manga Allman operated from 1995 to 2002, featuring alternative and avant-garde manga that experimented with non-traditional formats.

International magazines

Viz Media, the North American licensing arm of Shueisha, launched Shonen Jump in March 2003 as a monthly print anthology magazine featuring serialized chapters from popular Weekly Shōnen Jump titles such as Naruto and One Piece, marking the first official English-language adaptation of the flagship Japanese magazine. The publication ran in print until 2012, when it transitioned to a digital format under Shonen Jump Alpha and later Weekly Shonen Jump, a simulpub service that provided weekly English chapters simultaneous with Japan until its discontinuation at the end of 2018; today, Viz continues the line digitally through its Shonen Jump app, offering subscriptions for over 20 ongoing series and a vault of back issues. In , has partnered with local publishers for localized editions, such as Daewon C.I. in , which incorporates Weekly Shōnen Jump series into its Comic Champ anthology magazine alongside Korean , providing translated chapters tailored to regional preferences since the 1990s. In , official distributions occur through digital platforms like Comics and Tencent's WeComics via licensing agreements, adapting Jump content for the market without a dedicated print magazine due to regulatory constraints on foreign publications. Shueisha expanded international digital access with the global launch of MANGA Plus on January 28, 2019, a free app and website serving as the overseas counterpart to Shōnen Jump+, offering simultaneous English releases of select Weekly Shōnen Jump and Jump+ titles like One Piece and Jujutsu Kaisen in multiple languages including Spanish, Thai, Indonesian, Brazilian Portuguese, French, German, Vietnamese, and Russian. By 2024-2025, expansions included additional language support and integrations for vertical-scrolling formats, with Jump TOON—Shueisha's 2024 platform for full-color webtoon-style manga—beginning limited international availability through subtitles and partnerships to reach non-Japanese audiences. Adapting Jump content for international markets involves cultural modifications, such as altering dialogue or humor to align with local sensibilities, and occasional to comply with age ratings; for instance, toned down violence and nudity in early English editions of to suit U.S. standards, a practice that influenced some Japanese creators to self-censor for global appeal. In regions like and the U.S., school bans on titles such as highlight ongoing challenges with content perceived as promoting violence, leading to selective distribution. Early international print efforts in the , including Viz's U.S. monthly and Glénat's French Shonen Jump edition from 2003 to 2005, were discontinued due to low sales and distribution issues, paving the way for the digital shift that prioritized cost-effective global reach over physical magazines.

Imprints

Jump Comics

Jump Comics is the flagship imprint of , serving as the standard collected edition for serialized in and other magazines within the Jump line. Launched in November 1973, it initially compiled popular ongoing series from the magazine into single volumes, beginning with titles such as Otokozuma Gaki Taishō by Hiroshi Benimaru and Harenchi Gakuen by . This imprint played a pivotal role in transitioning episodic magazine chapters into accessible, permanent formats, enabling broader distribution and long-term readership for Jump's shōnen-oriented content. The core format consists of black-and-white volumes in the B6 size (approximately 128 × 182 mm), typically released every two to three months following , with each containing around 10–12 chapters. For highly successful series, deluxe aizōban editions are produced, featuring higher-quality , color pages, and supplementary materials to commemorate anniversaries or milestones. These physical editions remain the primary medium for Jump Comics releases, emphasizing affordability and portability for young readers. In the 2010s, expanded the imprint into digital realms with Jump Comics+, a digital-only line offering enhanced interactive features and simultaneous releases alongside print volumes. Complementing this are Jump Comics Digital, which provides e-book versions of traditional , and Jump Comics SQ, dedicated to collected editions from the magazine. These adaptations reflect the growing demand for online access, allowing global audiences to engage with Jump series without physical copies. Specialized sub-lines cater to specific Jump magazines: V Jump Comics compiles cross-media content from V Jump, often tying into video games and animations, while Young Jump Comics handles seinen-targeted series from Weekly Young Jump, maintaining the imprint's B6 tankōbon standard but with mature themes. Collectively, Jump Comics titles have surpassed 1 billion volumes sold historically, underscoring their cultural and commercial dominance, with new volumes continuing to release for ongoing 2025 series such as those in Weekly Shōnen Jump.)

Jump J-Books

Jump J-Books is a imprint operated by , established in 1993 to publish prose adaptations, spin-offs, and backstory novels derived from popular series serialized in . The label specializes in expanding Jump intellectual properties through narrative extensions, including side stories and fan-service content that delve deeper into character backgrounds and untold events from the original . Early releases focused on novelizations of flagship series, such as the 1999 Yu-Gi-Oh! novel by Katsuhiko Chiba, which adapts the manga's initial arcs while incorporating illustrations from creator .) Similarly, has seen multiple entries, including the 2022 novelization of : Super Hero by Masatoshi Kusakabe, blending plot recaps with movie screenshots to enhance the franchise's lore. The imprint's core offerings encompass original light novels and supplementary tales that complement Jump manga, often authored by writers who align closely with the source material's tone. Notable examples include the Jump j Books series by Nobuaki Kishima, a three-volume set from 1999–2001 that explores Gon's early life and family dynamics, drawing on canon elements like his mother's identity. For , titles such as novel A (2010) and the novel HEROINES anthology provide origin stories for characters like Portgas D. Ace and focus on female leads, offering thrilling quests and emotional expansions beyond Eiichiro Oda's panels. These works emphasize conceptual depth, such as thematic explorations of adventure and camaraderie, rather than exhaustive recaps, and are typically produced by guest authors under Shueisha's editorial oversight. Publications under Jump J-Books are released in paperback format, frequently featuring illustrations to evoke the visual style of their parent manga from the Jump Comics line. By 2025, the imprint has amassed numerous titles, with ongoing new releases like the Interlude novel in December 2025, reflecting sustained activity over three decades. Increasingly, these light novels are available as e-books through digital platforms affiliated with , facilitating broader accessibility for readers seeking prose extensions of Jump series.

Shueisha Comic Bunko

Comic Bunko (集英社コミック文庫) is a bunkoban imprint dedicated to reissuing popular series in a compact A6 format (105 mm × 148 mm), designed for affordability and portability to appeal to libraries, casual readers, and dedicated fans seeking to reread classics. This line repackages content from original editions, typically combining two volumes into one with higher page counts—often 300–400 pages per book—for easier handling and reduced cost compared to standard full-size releases. Introduced for Jump titles around 2006, the imprint focuses on cost-effective reprints of hit series, featuring refreshed cover artwork by the original creators and supplementary materials like bonus illustrations or short stories to enhance value. Its purpose emphasizes accessibility for revisiting long-running narratives, making dense storylines more manageable in a pocket-sized design suitable for commuting or storage. By 2025, the line has adapted over 100 series, including complete runs of Jump staples such as (full series in bunko), alongside To Love-Ru Darkness (10 volumes), reviving interest in established titles through budget-friendly editions priced around 600–700 yen per volume. These releases differ from standard Jump Comics tankōbon by prioritizing compactness over deluxe presentation, without oversized pages or premium binding, thus broadening reach to new and returning audiences.

Shueisha Jump Remix

Shueisha Jump Remix (集英社ジャンプリミックス, Shūeisha Janpu Rimikkusu), abbreviated as SJR, is a publishing imprint established by in 2001 that specializes in omnibus-style reprints of select series originally serialized in . The line re-edits chapters into arc-based compilations within thick, single-volume formats to offer an economical way for readers to access long-running narratives, with releases primarily through convenience stores every Friday at prices ranging from 550 to 900 yen. This approach has sustained popularity for legacy titles by combining convenience and affordability, as evidenced by its 10th anniversary celebrations in 2011, which included schedule adjustments and promotional events to engage fans. The volumes employ a B6-sized format with square binding, utilizing standard paper quality to maintain low production costs while accommodating 500 to 800 pages per book, resulting in a larger overall presentation that highlights intricate artwork details compared to compact standard editions. Production emphasizes through reorganized content flow, with some special releases incorporating full-color elements or remastered visuals for enhanced appreciation, such as the 2006 full-color anime comic editions of . These features cater to both newcomers catching up on series and dedicated enthusiasts seeking comprehensive collections, often including extras like author commentary in anniversary-tied volumes. Notable examples include the five-volume omnibus set of , which condenses the original 12 into grayscale compilations for quick access, and ongoing releases of , with volumes like the "Sports Festival" arc edition continuing into 2025. The imprint has also produced character-focused editions, such as the 2024 One Piece Jump Remix series featuring 580-page volumes on individual characters like , complete with posters and box set options for collectors. Limited-run specials, often linked to milestones like the 20th anniversary in 2021, have revitalized sales of classics by bundling them in premium packages that boost accessibility and nostalgia-driven interest.

Events and exhibitions

Jump Festa

Jump Festa is an annual two-day convention organized by , the publisher of the Jump magazine line, that has been held every December since its inception in 1999. The event takes place at in Chiba, near , serving as a major gathering for fans of Shōnen Jump titles and related media. It attracts over 100,000 attendees annually, providing a platform to showcase and promote content from Shueisha's various Jump publications. Over the years, the convention has evolved from a primarily manga-focused event into a comprehensive expo, incorporating elements like areas, fan contests, and interactive experiences alongside traditional promotions. The event features a wide array of activities centered on Shueisha's magazine lines, including panel discussions and stage presentations for series from , , , , and Shōnen Jump+. These panels often include live performances, voice actor appearances, and reveals for upcoming manga chapters, anime adaptations, and related projects. Merchandise booths offer exclusive items, collectibles, and limited-edition goods tied to popular Jump intellectual properties. Cosplay contests and fan engagement zones further enhance the interactive atmosphere, allowing attendees to immerse themselves in the Jump universe. The 2025 edition of , held on December 21-22, 2024, at , featured 42 stage events across multiple venues, with announcements highlighting forthcoming , , and game developments from Jump series. This progression reflects 's adaptation to the expanding Jump ecosystem, briefly incorporating digital platforms like Shōnen Jump+ in panel lineups to bridge print and online content. A notable aspect included collaborations with external partners, such as Square Enix, which promoted games based on Jump intellectual properties through dedicated booths and stage demonstrations.

Shōnen Jump+ Exhibition and other specials

The Shōnen Jump+ 10th Anniversary Exhibition marked the platform's first major physical showcase, held from April 18 to May 18, 2025, at the Warehouse Terrada G1 Building in Tennozu Isle, Tokyo. This ticketed, limited-time event featured immersive installations that brought the digital app's content to life through stunning illustrations, videos, three-dimensional artwork, and intricate sculptures drawn from over 370 manga titles serialized on the platform. Visitors experienced interactive displays and exclusive behind-the-scenes content, highlighting the app's evolution and popular series. Other specials included series-specific exhibitions, such as the Gengaten original , which ran from June 20 to July 6, 2025, at Sunshine City Exhibition Hall A in , , before traveling to Fukuoka (December 29, 2025–January 25, 2026) and (February 7–March 8, 2026). This immersive, ticketed installation recreated the manga's occult encounters, intense battles, , and youth themes through original drawings by creator Yukinobu Tatsu, life-size figures, video presentations, and dedicated zones. These events emphasized physical engagement with digital-first content, often incorporating creator insights via displayed manuscripts and interviews. Such exhibitions adopted a format of limited-duration, advance-ticketed access with daily operating hours, typically from 10:00 a.m. to 6:00 or 7:00 p.m., to manage crowds and enhance visitor immersion. While specific elements were not central, the setups relied on and spatial designs to evoke the source material's atmosphere. These initiatives boosted interest in Shōnen Jump+'s digital subscriptions by bridging online reading with tangible experiences. Historically, Shōnen Jump+ promotions began as online campaigns following the app's 2014 launch, focusing on digital accessibility amid rising manga consumption. Post-2020, as physical gatherings resumed after pandemic restrictions, the platform shifted toward hybrid events, culminating in these dedicated exhibitions to celebrate milestones and series anniversaries.

Video games

The crossover video games based on the Jump magazine line primarily feature ensemble casts of characters from multiple series, emphasizing battles and adventures that unite heroes across titles. These games, often developed in collaboration between and publishers like and , began in the late 1980s and have evolved from 2D and fighting formats to modern 3D arena fighters and mobile experiences. has maintained a long-term partnership with , leading to annual releases that leverage the popularity of Jump franchises for and competitive gameplay. The inaugural crossover title, Famicom Jump: Hero Retsuden, released on February 15, 1989, for the (NES), marked the first multi-series adventure in the line. Developed by TOSE and published by , this follows a protagonist who teams up with eight heroes from prominent Jump series, such as Dragon Ball and , to combat an evil alliance threatening the world. Players navigate turn-based battles and exploration segments, switching between characters' unique abilities like melee attacks and ranged projectiles to progress through a narrative-driven quest. The game sold modestly in but established the template for future Jump crossovers by blending RPG elements with fan-service team-ups. In 2005, brought the concept to the as a 2D fighting game developed by and published by . Released exclusively in on August 8, this title assembled over 50 playable characters from more than 30 series, including Dragon Ball Z, Naruto, and One Piece, in fast-paced, team-based battles reminiscent of Super Smash Bros.. Players construct decks of "support panels" to summon allies during four-on-four matches on touch-screen arenas, emphasizing strategic combos and special moves. Its success, selling 464,076 copies in 2005 with total sales of approximately 517,000 units, highlighted the appeal of portable Jump crossovers and tied into promotional events for the DS launch. The 2006 sequel, , expanded on its predecessor for the , again developed by and published by , with a release date of in . This iteration grew the roster to feature over 300 characters, including 56 playable fighters, from 41 series, incorporating characters from Seinen titles like alongside Shōnen staples, and introduced enhanced deck-building mechanics for more dynamic support summons and combo chains. Battles retained the 2D platform-fighting style but added voice acting and refined touch controls for character selection. Selling approximately 789,000 copies, it solidified the DS era as a high point for Jump crossovers, appealing to a broader audience. Another notable evolution came with the J-Stars Victory VS series, starting with in 2013 for and , developed and published by Bandai Games. This 3D fighting game featured over 50 playable characters from 28 Jump series, including , , and , in tag-team battles with story modes and versus options. Its 2014 sequel, J-Stars Victory VS+ for PS3, PS Vita, and PS4, expanded the roster to 52 characters from 30 series and added new modes. The series sold over 1 million units combined in , bridging the gap to more advanced console crossovers. Shifting to three-dimensional gameplay, arrived in 2019 as a global arena fighter developed by and published by . Launched on February 15 across , , and PC, it featured over 40 characters from 16 Jump series, such as , , and , in a story mode where heroes from the "Jump World" invade Earth to battle a villainous invasion led by a corrupted entity. Players customize avatars to join the Jump Force alliance, engaging in 1v1 or 3v3 battles with Unreal Engine-powered visuals and seamless arena transitions. Despite mixed reception for its online focus and technical issues, it achieved over 3 million players worldwide, underscoring Bandai Namco's role in internationalizing Jump crossovers. As of 2025, mobile crossovers continue through integrations with the Shōnen Jump+ app, exemplified by Jump+ Jumble Rush, a tower defense game developed and published by Bandai Namco. Released on September 24 for and Android, it draws from Jump+ digital series like and Spy x Family in event-based gacha mechanics, where players deploy manga-panel-style units in strategic defenses against waves of enemies. This title builds on the partnership by offering limited-time collaborations and narrative events, fostering ongoing engagement with Jump's evolving digital catalog.

Merchandise and stores

The Jump Shop is an official retail chain operated by Benelic Co., Ltd. under license from , specializing in merchandise from series published in and related imprints. The first store opened in in 2004, with permanent locations now including Shibuya PARCO in , Solamachi, Tokyo Station's Character Street, Osaka Shinsaibashi, and , alongside an online store at jumpshop-online.com. These outlets offer a wide range of products such as action figures, apparel, accessories, and exclusive items featuring characters from popular titles like , , and . Product lines extend beyond in-house offerings to include collaborations with major brands, such as Uniqlo's UT graphic collections featuring designs from arcs like Egghead. Annual limited-edition goods tied to events like are also available, including badges, stickers, and apparel exclusive to store visitors or online purchasers. In 2025, the Jump Shop expanded its reach with pop-up locations in the United States, including a one-month store at in from September 6 to October 5 and another at American Dream in New York from November 21, 2025, to January 20, 2026, offering Japan-imported merchandise from series like and . The Jump Shop's online platform has grown to include digital access to select merchandise, enhancing global availability through Shueisha's Jump+ ecosystem. These initiatives contribute substantially to Shueisha's overall revenue streams, with the physical and pop-up stores drawing significant tourist traffic to areas like and , boosting local economies through high footfall and merchandise sales. Additional pop-up shops frequently appear at exhibitions and in department stores to promote specific series, such as the Domain Expansion Fair held from May 23 to June 8, 2025, across 13 permanent stores, Saitama Shintoshin, Osaka Tennoji, and LaLaport Fukuoka, featuring themed apparel and collectibles.

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