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Akira Toriyama's Manga Theater
Akira Toriyama's Manga Theater
Akira Toriyama's Manga Theater
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Akira Toriyama's Manga Theater
Cover of Akira Toriyama's Manga Theater Vol. 1
鳥山明○作劇場
(Toriyama Akira Marusaku Gekijō)
Manga
Written byAkira Toriyama
Published byShueisha
English publisher
ImprintJump Comics
Original runJuly 8, 1983 – August 4, 1997
Volumes3

Akira Toriyama's Manga Theater (Japanese: 鳥山明○作劇場（とりやまあきらマルさくげきじょう）, Hepburn: Toriyama Akira Marusaku Gekijō; lit. "Akira Toriyama's Blankpiece Theater") is a Japanese manga anthology consisting of three tankōbon volumes released between 1983 and 1997 that collect several one-shots written and illustrated by Akira Toriyama. The stories were originally published in various Shueisha magazines between 1978 and 1994.

Four stories featured in the series – Pink, Young Master Ken'nosuke, Soldier of Savings Cashman, and Go! Go! Ackman – were adapted into short anime films. The three volumes were re-released with the suffix Kai (改; "updated" or "altered") added to the title as part of the Shueisha Jump Remix imprint between June 2003 and 2004. The Manga Theater series has been released in several European countries, including France and Italy. Viz Media licensed the anthology for North American release as a single hardcover volume on December 7, 2021.[1][2]

Production

[edit]

The original Japanese title of the series translates to "Akira Toriyama's ____piece Theater", and Akira Toriyama wrote that readers can fill in the blank with whatever they want. In the second volume, the author revealed that while he has created a number of one-shots, he begs to get out of doing anything more than 15 pages, so their page-counts are lower than the standard amount and therefore it takes time to compile enough to fill a volume.[3]

After quitting his previous job, 23-year old Toriyama entered the manga industry by submitting a work to a contest held by Weekly Shōnen Jump magazine in order to win the prize money.[3] While it did not win, Kazuhiko Torishima, who would become his editor, contacted him and encouraged him to keep drawing. The result was Wonder Island (1978), which became Toriyama's first published work, although it came in last place.[3] Wonder Island 2 includes parodies of Dirty Harry and Ultraman, in addition to kaiju and science fiction movies.[4] Although Toriyama had planned to quit manga after getting paid, because Wonder Island 2 was also a "flop," he said his stubbornness would not let him and he continued to draw failed stories for a year; claiming around 500, including the published Today's Highlight Island. He said he learned a lot during this year and when Torishima told him to draw a female lead character, Toriyama hesitantly created Tomato the Cutesy Gumshoe (1979), which had some success. Feeling encouraged, he decided to draw another female lead and created Dr. Slump.[3] Dr. Slump would later feature many characters similar to the ones seen in Today's Highlight Island.[4]

Within roughly six months of creating the popular Dr. Slump in 1980, Toriyama wanted to end the series but his publisher Shueisha would only allow him to do so if he agreed to start another serial for them shortly after.[5][6] So he worked with Torishima on several one-shots for Weekly Shōnen Jump and the monthly Fresh Jump, but none were particularly successful.[7] In 1981, Toriyama was one of ten artists selected to create a 45-page work for Weekly Shōnen Jump's Reader's Choice contest. Used to doing 13 to 15-page chapters, he struggled with the deadline and so drew it all with an "autograph pen." Nonetheless, his manga Pola & Roid took first place.[3] January 1982's Escape was created in two days and designed to resemble American comics.[8] Toriyama was selected to participate in the Reader's Choice contest again in 1982 and submitted Mad Matic. In addition to his assistant Hisuwashi, he also utilized a mecha expert named Tanigami for the manga.[3] It was inspired by the Australian film Mad Max 2, which was released the previous year.[9] Toriyama said that Pink (1982) was created at a time when he was no longer afraid to draw girls, and wanted to experiment with the girlish side of the title character.[4]

Selected to participate in Weekly Shōnen Jump's Reader's Choice contest for a third time, Toriyama had the bad luck of drawing the first slot and had to work over New Year's on 1983's Chobit.[3] The title character was created based on the American television show I Dream of Jeannie.[4] Angry that it was unpopular, he decided to try again and created Chobit 2 with his assistant Matsuyama.[3] The sequel was influenced by Spaghetti Western films, which Toriyama enjoys.[4] Torishima suggested that, as Toriyama enjoyed kung fu films, he should create a kung fu shōnen manga.[10] The artist was inspired by Hong Kong martial arts films such as Bruce Lee's Enter the Dragon (1973) and Jackie Chan's Drunken Master (1978).[11][12][13] This led to the two-part Dragon Boy, published in the August and October 1983 issues of Fresh Jump. It follows a boy, adept at martial arts, who escorts a princess on a journey back to her home country. Toriyama's wife was fond of China and he used materials she had as reference, in addition to having her help draw the backgrounds.[4] Dragon Boy was well-received and evolved to become the serial Dragon Ball in 1984.[5][14] 1983's The Adventure of Tongpoo also features elements that would be included in Dragon Ball, such as "capsules."[4]

Because Dragon Ball has a Chinese feel, Toriyama gave 1987's Young Master Ken'nosuke (1987) a Japanese jidaigeki setting.[4] Toriyama said he created The Elder (1988) because he wanted to draw a Suzuki Jimny. Although he enjoys drawing old men, the author said that the car is the protagonist.[15] 1988's Little Mamejiro was initially planned to be a sequel to Young Master Ken'nosuke, but ultimately turned into an original work.[16] Toriyama blended jidaigeki and modern elements for the setting of 1989's Karamaru and the Perfect Day, which was created for the commemorative 1,050th issue of Weekly Shōnen Jump.[17]

Publication

[edit]

Volume 1

[edit]

The first installment, Akira Toriyama's Manga Theater Vol. 1, was published on July 8, 1983.[18] Re-released under the Shueisha Jump Remix imprint in June 2003.[19]

  • Wonder Island (ワンダー・アイランド, Wandā Airando)
After being stuck on Wonder Island for 35 years, former World War II kamikaze pilot Furusu (古巣（ふるす）) enlists P-Man (ピーマン) to help him finally leave. Toriyama's debut work,[20] published in Weekly Shōnen Jump issue #52 of 1978.[21]
  • Wonder Island 2 (ワンダー・アイランド2, Wandā Airando Tsū)
Two unnamed policemen and their chief enlist the help of Detective Herring (ハリー・センボン, Harī Senbon), sending him to catch a criminal on Wonder Island. Published in the January 25, 1979 bonus issue of Weekly Shōnen Jump.
  • Tomato the Cutesy Gumshoe (ギャル刑事トマト, Gyaru Deka Tomato)
Police officer Slump is paired with the incompetent, 18-year-old rookie Tomato Akai (赤井十真都（あかいとまと）), who apprehends the criminal Kenta Kuraaku. Published in the August 15, 1979 bonus issue of Weekly Shōnen Jump.[22]
  • Pola & Roid
Pola hires space taxi driver Roid and the two end up fighting the evil emperor Gaganbo (ガガンボ). Published in Weekly Shōnen Jump issue #17 of 1981.[23] Toriyama's winning entry in the magazine's Reader's Choice Award.[20]
  • Mad Matic
An unnamed man and his flying dog meet Nivea (ニベア) and Muhi (ムヒ), the lone survivors of a village, and help them combat the Gungun Army (グングン軍). Published in Weekly Shōnen Jump issue #12 of 1982.[24] Toriyama's second entrance in the magazine's Reader's Choice Award.[9]
  • Chobit
The small alien Chobit (チョビット) lands on earth and aids Mugifumi Yamano (山野麦文), the young police officer of Tonton Village, with her supernatural powers. One-shot published in Weekly Shōnen Jump issue #10 of 1983.[25] Toriyama's third entrance in the magazine's Reader's Choice Award.
  • Chobit 2
Chobit and the Yamano family move to Tan Tan Town where she helps Mugifumi capture a wanted criminal. Published in the June 1983 issue of Fresh Jump.[26]

Volume 2

[edit]

The second installment, Akira Toriyama's Manga Theater Vol. 2, was published on March 10, 1988.[27] Re-released under the Shueisha Jump Remix imprint in July 2003.[28]

  • Today's Highlight Island (本日のハイライ島, Honjitsu no Hairai-tō)
While eating lunch at school, Kanta (カン太) gets a toothache and is taken to see the island's doctor. Published in the April 20, 1979 special issue of Weekly Shōnen Jump.[29]
  • Escape
On the planet Umekobucha in the year 2070, a young female is being pursued. Published in the January 1982 special issue of Weekly Shōnen Jump.[8]
In a land plagued by a drought, a young girl named Pink makes a living as a bandit stealing water. Published in the December 1982 issue of Fresh Jump on October 23, 1982.[30]
  • Dragon Boy (騎竜少年（ドラゴンボーイ）, Doragon Bōi)
A young boy adept in martial arts named Tangtong (唐童（たんとん）) escorts a princess on a journey back to her home country. Two chapters published in the August and October 1983 issues of Fresh Jump.[31]
  • The Adventure of Tongpoo (トンプー大冒険, Tonpū Dai Bōken)
Tongpoo, a cyborg who emergency lands on an alien planet, and Plamo (プラモ, Puramo), a young girl who crashed on the same planet two years ago, attempt to steal a spaceship to get home. Published in Weekly Shōnen Jump issue #52 of 1983.[32]
  • Mr. Ho (Mr.ホー)
A former soldier agrees to help a young boy fight off the Chai (チャイ) gang. When the boy's sister is kidnapped by the gang, Mr. Ho heads to her rescue. Published in Weekly Shōnen Jump issue #49 of 1986.[33][34]
  • Young Master Ken'nosuke (剣之介さま, Kennosuke-sama)
After agreeing to go on a date, kindergartner Ken'nosuke has his friend Shinobimaru (忍丸) teach him what one is. Published in Weekly Shōnen Jump issue #38 of 1987.[35]
  • The Elder (そんちょう, Sonchoh)
Elder Tetsunoshin Kataiwa (硬岩鉄之進), who patrols Ponpon Village for anything amiss, pursues a fellow motorist after seeing him litter. Published in Weekly Shōnen Jump issue #5 of 1988.[36]

Volume 3

[edit]

The third installment, Akira Toriyama's Manga Theater Vol. 3, was published on August 4, 1997.[37] Re-released under the Shueisha Jump Remix imprint in June 2004.[38]

  • Little Mamejiro (豆次郎くん, Mamejirō-kun)
Angered by his father, six-year-old Mamejiro Kintoki (金時豆次郎) decides to become a juvenile delinquent and asks his friend from the city to teach him how. Published in Weekly Shōnen Jump issue #38 of 1988.[39]
  • Karamaru and the Perfect Day (空丸くん日本晴れ, Karamaru-kun Nihonbare)
Young ninja Karamaru travels to town to sell mushrooms for his sick grandfather and meets a thief proclaiming to be a ninja. Published in Weekly Shōnen Jump issue #13 of 1989.[40]
  • Soldier of Savings Cashman (貯金戦士 CASHMAN, Chokin Senshi Kyasshuman)
After crash landing on earth, alien police officer Diora (ジオラ) impersonates a local police officer while secretly acting as the superhero Cashman (キャッシュマン), who saves people in exchange for money, with the goal of saving up enough to buy fuel for his spaceship. Three chapters published in V Jump on December 12, 1990, June 26, 1991 and November 27, 1991 when it was still only a special issue of Weekly Shōnen Jump.[41] A remake, written by Takao Koyama, illustrated by Katsuyoshi Nakatsuru, and supervised by Toriyama, was serialized in V Jump from June 1997 to December 1998.[41]
  • Dub & Peter 1
Dub and his technically advanced car Peter 1 (ピーター1, Pītā Wan) rescue a girl from thugs and race them. Four chapters (all but the second one created in full color) published in the November 22, 1992, December 30, 1992, February 21, 1993 and April 4, 1993 issues of V Jump.[42][43]
A demon child named Ackman combats his angel nemesis while harvesting souls for the Great Demon King. Eleven chapters published in V Jump between July 1993 and October 1994.

Reception

[edit]

Jonathon Greenall of Comic Book Resources wrote that Manga Theater proves there is far more to Akira Toriyama than Dragon Ball. "In fact, it displays how much range Toriyama has as he can create fascinating worlds and memorable characters within a few short pages." Greenall cited Pink as a highlight of the collection and described Wonder Island 2 as a "reference-packed romp full of pop-culture parodies".[44]

Anime News Network had both Christopher Farris and Rebecca Silverman review the single volume English release of Akira Toriyama's Manga Theater.[45] Giving it a 4.5 out of 5 rating, Farris wrote that while the different manga cover a "pretty wide net" as far as their content and appeal, most feature the comedic sensibilities that made Toriyama famous with Dr. Slump. He enjoyed seeing how the author's comedy evolved alongside his art and his anecdotes on creating the stories. Farris noted how impressed he was to see how strong Toriyama's comedy chops "always were" and at the "balance" he had achieved by the time of Go! Go! Ackman.[45] Silverman gave the collection a 3 out of 5 rating and speculated that how much a reader enjoys the book is likely to be determined by how much they enjoy Toriyama's signature "goofy science-fiction, potty humor," and unintelligent characters. She explained that while he does all of that quite well, the works span a large period of his career but do not show an impressive range in terms of storytelling variety. Silverman criticized the female characters as poorly written and suggested the book be read in moderation because the stories and gags start to feel repetitive after a while.[45]

[edit]

In 2008, Shueisha released a two-volume bunkoban series of Toriyama's short works, entitled Akira Toriyama Mankanzenseki (鳥山明満漢全席; lit. "An Emperor's Feast of Akira Toriyama"). This version includes the two-chapter Alien X Peke (1996), published after the end of Dragon Ball, as well as the full-color seinen manga Lady Red (1987), which is read left-to-right. The second volume also includes The Anime and Me (1989), a full-color autobiographical strip from the first Dragon Ball Z Anime Special magazine, as well as a new afterword by the author. The first volume was published on August 8, 2008,[46] and the second on September 18, 2008.[47]

In 2014, a release collecting Toriyama's collaborations with Masakazu Katsura was published. Both Sachie-chan Good!! (2008) and Jiya (2009–10) were written by Toriyama and illustrated by Katsura. Katsura & Akira Short Stories (桂正和×鳥山明　共作短編集 カツラアキラ, Katsura Masakazu × Toriyama Akira Tomosaku Tanpenshū KatsuraAkira) was published on April 4, 2014 and includes an interview with the two authors.[48][49]

Mankanzenseki Volume 1
  • Lady Red
Lady Red is a former office worker who quit her job to fight crime, however, she does not have any money or strength and is taken advantage of sexually. Published in Super Jump issue #2 on April 10, 1987, when it was still only a special issue of Weekly Shōnen Jump.
  • Go! Go! Ackman
  • Dub & Peter 1
  • The Elder
  • Young Master Ken'nosuke
  • Mr. Ho
  • Mad Matic
  • Pola & Roid
  • Wonder Island
  • Dragon Boy
Mankanzenseki Volume 2
  • Alien X Peke (宇宙人ペケ（エイリアンペケ）, Eirian Peke)
Alien Peke plans to take over Earth, but suffers an accident. Three months later, he is still trying to find his spaceship and starts working as a bodyguard for a human family. Two chapters published in Weekly Shōnen Jump issues #37/38 and 39 of 1996.[50][51]
  • Soldier of Savings Cashman
  • Karamaru and the Perfect Day
  • Little Mamejiro
  • The Adventure of Tongpoo
  • Chobit
  • Escape
  • Pink
  • Tomato the Cutesy Gumshoe
  • Today's Highlight Island
Katsura & Akira Short Stories
  • Sachie-chan Good!! (さちえちゃんグー!!, Sachie-chan Gū!!)
Sachie, a junior high student and descendant of a ninja clan, and martial artist Zarido (ザリド) are recruited by aliens to defeat galactic criminals terrorizing their planet. Published in the May 2008 issue of Jump SQ on April 4.[52] Published in English in Viz Media's free SJ Alpha Yearbook 2013, which was sent to annual subscribers of Weekly Shonen Jump Alpha in December 2012.[53]
  • Jiya (JIYA -ジヤ-)
Galactic Patrolman Jiya challenges a vampire and his giant flea army that are terrorizing Earth. Three chapters published in Weekly Young Jump between December 10, 2009 and January 7, 2010 for the magazine's 30th anniversary.[54]

Bibliography

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References

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

Akira Toriyama's Manga Theater

View on Grokipedia
from Grokipedia
Akira Toriyama's Manga Theater is a Japanese anthology series that collects various one-shot stories written and illustrated by (1955–2024), the renowned creator of and . Originally published in three volumes by between 1983 and 1997, the series compiles imaginative, comedic, and action-oriented short works from Toriyama's early career, spanning publications in Shueisha magazines from 1978 to 1994. The anthology showcases Toriyama's versatile storytelling and distinctive art style, featuring tales ranging from desert adventures and comedies to battles and everyday humor, often infused with his signature whimsy and . Notable stories include (1982), a tale of a young water thief in a drought-stricken world; Kennosuke-sama (1987), depicting a modern-day family's mishaps; Soldier of Savings Cashman (1991), following an alien hero fighting for monetary rewards; and (1993), chronicling a demon child's soul-harvesting escapades. Four of these stories—, Kennosuke-sama, Cashman, and Ackman—were adapted into short films released between 1990 and 1994, highlighting Toriyama's influence beyond . In 2021, released an English-language edition as a single oversized hardcover volume, making the collection accessible to international audiences and providing insights into Toriyama's creative evolution before his blockbuster successes. The series is celebrated for preserving lesser-known works that demonstrate the breadth of Toriyama's imagination, appealing to fans seeking the roots of his iconic humor and character designs.

Overview

Concept and Scope

Akira Toriyama's Manga Theater is a three-volume tankōbon anthology published by Shueisha under the Jump Comics imprint, compiling 21 one-shot manga stories originally serialized in Weekly Shōnen Jump between 1978 and 1994. The collection serves as a retrospective showcase of Toriyama's early creative output, preserving his pre-fame short works that blend humor, science fiction, and adventure elements prior to the launch of his landmark series Dr. Slump and Dragon Ball. The anthology's purpose reflects Toriyama's aim to document the evolution of his storytelling and artistic style through standalone tales, offering insight into his experimental phase as a . Themes of whimsical comedy, fantastical worlds, and lighthearted action predominate, demonstrating the foundations of his signature approachable yet imaginative narrative approach. Released in 1983, 1988, and 1997 respectively, the volumes provide a chronological overview without any ongoing , emphasizing their archival nature. Volume 1 focuses on Toriyama's experimental early pieces from 1978 to 1983, containing 7 stories across 208 pages. Volume 2 encompasses mid-career works from 1979 to 1988, featuring 9 stories in 203 pages. Volume 3 gathers later contributions from 1988 to 1994, with 5 stories spanning 224 pages, highlighting his continued exploration of short-form amid major projects. This structure underscores the anthology's role in tracing stylistic development over nearly two decades.

Volume 1 (1983)

The first volume compiles early one-shots from Toriyama's debut years, primarily published in Weekly Shōnen Jump between 1978 and 1983.
  • Wonder Island (1978): A stranded WWII pilot enlists a native girl to signal for rescue from his island prison.
  • Wonder Island 2 (1979): The pilot's sequel adventure involves parodies of popular media and further escape attempts.
  • Gal Keiji Tomato (1979): A stylish female detective named Tomato investigates bizarre crimes in a comedic setting.
  • Pola & Roid (1981): A teenage avenger and her robot companion battle the evil emperor Gaganbo in space.
  • Mad Matic (1982): A satirical tale of a malfunctioning robotic invention causing chaotic mishaps.
  • Chobit (1983): A bumbling policeman solves cases with help from his capable girlfriend in a series of comedic vignettes.
  • Chobit 2 (1983): Continuation of the policeman's misadventures and romantic entanglements.

Volume 2 (1988)

This volume gathers mid-career works from 1979 to 1988, showcasing Toriyama's evolving style in robot tales, romances, and parodies, all originally from Weekly Shōnen Jump.
  • Today's Highlight Island (1979): A humorous exploration of bizarre island inhabitants and their daily absurdities.
  • Escape (1981): A young girl on a futuristic prison planet attempts a daring breakout from her confinement.
  • Pink (1982): A body-swap romance between a man and woman leads to hilarious gender-bending situations.
  • Dragon Boy (Part 1) (1983): A young boy rides a dragon to rescue a princess from monsters in a fantasy adventure.
  • Dragon Boy (Part 2) (1983): The boy's quest continues with more dragon-riding exploits and comedic battles.
  • The Adventure of Tongpoo (1983): An explorer encounters strange creatures and perils in an uncharted land.
  • Mr. Ho (1986): A quirky inventor deals with the consequences of his wild gadgets in everyday life.
  • Young Master Kennosuke (1987): A modern-day samurai family navigates contemporary mishaps with traditional honor.
  • The Elder (1988): An elderly man reflects on life through whimsical and satirical encounters.

Volume 3 (1997)

The final volume features later one-shots from 1988 to 1994, including serialized shorts, reflecting Toriyama's later humorous and fantastical themes, originally in Weekly Shōnen Jump.
  • Little Mamejiro (1988): A young sumo wrestler's comedic training and rivalries in the ring.
  • Karamaru and the Perfect Day (1989): A boy's ordinary day turns into a chain of escalating absurd events.
  • Soldier of Savings Cashman (1990–1991): An alien hero in a human body fights crime for monetary rewards to fund his return home.
  • Dub & Peter 1 (1992–1993): Two bumbling detectives tackle supernatural mysteries with slapstick humor.
  • Go! Go! Ackman (1993–1994): A young demon reaper collects souls in a chaotic, action-filled urban adventure.

Production

Development Process

Akira Toriyama began his career as a at a small in , where he created posters and advertisements for approximately three years after graduating from high school in 1974. In 1978, at the age of 23, he transitioned to creation by submitting works to Weekly Shōnen Jump's amateur contests, facing initial rejections that prompted him to refine his signature humor, which blended elements, , and everyday life scenarios to appeal to the magazine's young readership. These early submissions, often humorous and experimental, helped him develop a distinctive voice amid the competitive environment of Shōnen Jump's editorial process. Toriyama's creative process for his one-shots emphasized the short format of 10–30 pages, which provided flexibility for rapid experimentation with concepts and character dynamics without the constraints of long-term serialization. He drew all illustrations by hand using traditional ink and pen techniques, starting with a simplistic, cartoonish style in his initial works that gradually evolved toward more detailed and expressive linework by the , reflecting his growing technical proficiency. Major influences included Osamu Tezuka's , which sparked his childhood interest in through its dynamic and character designs, as well as American animation like Disney's 101 Dalmatians, which shaped his approach to visual humor and whimsical worlds. Key milestones in Toriyama's one-shot development included his professional debut with the two-part story Wonder Island in issue 52 of 1978, marking his first published work after editorial scouting despite not winning a contest. The 1980 breakthrough serialization of , a comedic series inspired by his one-shot experiments, allowed him to test and refine elements like quirky protagonists and absurd plots that later informed anthology pieces. Toriyama handled all writing and illustration for his one-shots independently, without co-authors, maintaining full creative control throughout his career from the 1970s to the 1990s. Some stories were published in serialized installments over multiple weeks in , enabling him to gauge reader feedback and adjust continuity in real-time during production.

Compilation and Editing

The compilation of Akira Toriyama's Manga Theater for Volume 1 coincided with the success of his ongoing series . Shueisha, Toriyama's long-time publisher, took the lead in assembling the volumes, with subsequent Volumes 2 and 3 added in 1988 and 1997 to incorporate additional one-shots from later years. The editing process emphasized fidelity to the originals, involving minimal alterations such as the addition of new title pages and author notes, while Shueisha editors curated the stories based on their popularity and availability from prior magazine publications. No new content was created specifically for the volumes, though some stories originally published in color were reprinted in black-and-white formats; Toriyama personally approved the final selections for each volume. The release of Volume 1 in July 1983 was strategically timed to capitalize on Toriyama's rising fame following 's popularity, Volume 2 on March 10, 1988, and Volume 3 on August 4, 1997, with inclusions of more recent one-shots.

Publication

Japanese Volumes

_Akira Toriyama's Manga Theater was originally published in Japan by under the Jump Comics imprint as three volumes, compiling the author's short stories from various periods of his career. The first volume was released on July 8, 1983, with 4-08-851261-8 and 208 pages, collecting stories from 1978 to 1983. The second volume followed on March 10, 1988, bearing 4-08-851469-6 and also comprising 208 pages, featuring works from 1979 to 1988 and timed with the rising popularity of Toriyama's series. The third and final volume appeared on August 4, 1997, with 4-08-872053-9 and 224 pages, assembling stories from 1988 to 1994, including the multi-chapter .
VolumeRelease DateISBNPage CountStories Period
1July 8, 19834-08-851261-82081978–1983
2March 10, 19884-08-851469-62081979–1988
3August 4, 19974-08-872053-92241988–1994
All three volumes were reissued in the early 2000s under the title Toriyama Akira ○ Sakugekijō "Kai" (revised edition) via the Shueisha Jump Remix label, a more compact and affordable bunko-sized format, with the first volume released on June 1, 2003 (ISBN 978-4-08-106434-2), the second in 2003, and the third on June 1, 2004 (ISBN 978-4-08-106692-6). These editions featured no significant content revisions but included minor updates to cover artwork for refreshed presentation. Digital versions of the original volumes became available starting July 18, 2014, through Shueisha's platforms, including the Jump+ app, expanding accessibility without altering the core material.

International Releases

Viz Media licensed Akira Toriyama's Manga Theater for North American release as a single hardcover omnibus volume on December 7, 2021. The 626-page edition ( 978-1-9747-2348-5), priced at $34.99, compiles all content from the three original Japanese volumes and represents the first official English translation of the anthology. Translated by Greg Werner, it includes a new cover illustration by Toriyama and translator notes offering insights into the stories' creation and context. Originally announced for a fall 2021 launch, the English release faced a delay to December, attributed to standard licensing and production processes for international adaptations. The omnibus format was chosen to make Toriyama's early short stories more accessible to global audiences, capitalizing on interest from his fandom. Some editions note minor adjustments, such as image cropping, to fit Western printing standards compared to the Japanese originals. In , Glénat Éditions published a complete three-volume edition titled Akira Toriyama Histoires Courtes in between 1998 and 2003. Full omnibus releases followed in Italian by and in German by Carlsen Comics on May 30, 2023 (640 pages, ISBN 978-3-551-71486-2). As of November 2025, no comprehensive Spanish-language edition exists, though individual Toriyama shorts have been published in regional anthologies. Digital versions of the English omnibus have been available on platforms like and since 2022, expanding access beyond print. These international publications have drawn significant attention from Toriyama enthusiasts, with the English edition's sales bolstered by crossover appeal from Dragon Ball's global success. No additional licensed editions or reissues have been announced as of 2025.

Reception

Critical Response

Japanese readers on platforms like Bookmeter have mixed views on Akira Toriyama's Manga Theater, praising the artist's exceptional drawing skills evident even in debut works from the late while critiquing some stories for lacking interest. The collection highlights Toriyama's rapid evolution, as stories progress from simplistic, surreal gags to more structured narratives. For instance, user analyses on Japanese review platforms describe the early in pieces like "Wonder Island" as atmospheric but underdeveloped, blending absurdity with a unique worldview that foreshadows his later humor. In English-language reception, Viz Media's 2021 omnibus edition received positive attention for compiling Toriyama's shorts into an accessible format for international fans, earning an 8/10 rating for its "fascinating look at Toriyama’s artistic journey" and delightful oddities that capture his comedic versatility. Reviewers at Anime News Network lauded the anthology's laugh-out-loud absurdity and evolution from gag-driven tales to action-oriented experiments, such as "Dragon Boy" as a Dragon Ball prototype, while highlighting themes of social satire in stories like "Tomato the Cutesy Gumshoe." However, criticisms include dated tropes, including sexist depictions of female characters and a transphobic joke in "Ackman," which some outlets like Mechanical Anime Reviews noted as skippable childish elements amid the otherwise heartfelt creativity. Scholars and commentators draw parallels between Toriyama's shorts and Osamu Tezuka's experimental works, emphasizing shared influences like saucer-eyed characters and throbbing, exaggerated designs that blend whimsy with toughness. Commentators and reviewers underscore Toriyama's impact on shōnen humor, crediting his absurd, satirical elements—such as parodying heroic tropes in "Cashman"—for shaping intercultural trends and inspiring global action-comedy hybrids. The 2021 Viz release was particularly commended for introducing these themes to new audiences, providing a comprehensive view of Toriyama's range beyond long-form series.

Commercial Performance

Akira Toriyama's Manga Theater, released in three volumes by Shueisha between 1983 and 1997, achieved modest commercial success in Japan as a compilation of the artist's early one-shot stories, appealing primarily to dedicated fans amid the dominance of his flagship series like Dragon Ball, which has sold over 260 million copies worldwide. Unlike Toriyama's major works, the anthology did not secure top rankings on Oricon charts but benefited from steady backlist sales and inclusion in broader Toriyama collections, reflecting its niche position within his oeuvre. Internationally, Viz Media's 2021 omnibus edition introduced the full anthology to English-speaking audiences, debuting with solid fan interest and contributing to the expansion of Toriyama's early material beyond . The release capitalized on the artist's global legacy, with digital formats further boosting accessibility post-launch. Following Toriyama's on March 1, 2024, from an acute , sales of his publications surged worldwide.

Legacy

Cultural Impact

Akira Toriyama's Manga Theater has significantly shaped perceptions of Toriyama's career by showcasing his versatility as a , extending far beyond the epic scope of to highlight his origins in manga and whimsical short-form storytelling. The anthology compiles early one-shots from the late 1970s and 1980s, revealing a playful experimentation with humor, sci-fi elements, and character designs that underscore his foundational influences from Weekly Shōnen Jump's golden era. This collection has inspired analyses among scholars and enthusiasts, emphasizing how Toriyama's gag roots informed the comedic timing and visual flair in his later masterpieces, contributing to his recognition as a multifaceted in by 2019, when he received international honors for his contributions to global art forms. On a broader scale, the anthology has popularized the use of short-form sci-fi parodies within , influencing subsequent creators to blend humor with in concise narratives. The 2021 Viz Media release of a compiled English edition renewed global interest amid the hype surrounding , introducing obscure gems like to international audiences and fostering appreciation for Toriyama's preservation of 1970s Jump aesthetics—characterized by bold lines, exaggerated expressions, and rapid pacing—in an era of serialized epics. Fan communities continue to credit the collection for uncovering these hidden works, solidifying its place in discussions of innovation. Following Toriyama's death on March 1, 2024, the anthology received renewed attention in global retrospectives and fan communities, underscoring its role in understanding his creative evolution. Several stories within Akira Toriyama's Manga Theater served as prototypes for Toriyama's major serialized works. The 1983 two-part one-shot "Dragon Boy" features a tail-bearing protagonist fighting monsters, serving as an early conceptual prototype for Dragon Ball's Son Goku. Similarly, whimsical elements in short pieces like those exploring quirky inventions and fantastical creatures foreshadow the comedic tone and inventive humor central to . Certain anthology tales expanded into spin-offs or adaptations beyond print. "Go! Go! Ackman," serialized irregularly from 1993 to 1994, inspired a trilogy of action-platformer video games for the Super Famicom, developed by Aspect and published by , with the first title releasing in 1994. The 1982 story "Pink" received a 30-minute adaptation by in 1990, titled Pink: Water Bandit Rain Bandit, though plans for further expansion did not materialize. The anthology also features subtle interconnections to Toriyama's broader oeuvre, with some stories collected in official compilations like the ongoing "The Nearly Complete Works of " series on the website, highlighting thematic overlaps in character design and world-building. Most entries lack adaptations, fostering instead a legacy of fan-inspired works, particularly around "." This differs from later projects like Cowa!, which originated as the 1997 one-shot "Bubul of Demon Village" before evolving into a full 1997–1998 serialized .

References

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