Welcome to This Week in Shonen Jump, our weekly check in on Viz’s various Shonen Jump series. Viz has recently changed their release format, but our format will mostly remain the same. We will still review the newest chapters of two titles a week, now with even more options at our disposal. The big change for our readers is that, even without a Shonen Jump subscription, you can read these most recent chapters for free at Viz.com or using their app.
This week, Zach and Vince check in with “Tokyo Shinobi Squad” and “Dr. Stone.” If you have thoughts on these or any other current Shonen Jump titles, please let us know in the comments!
Dr. Stone – Chapter 120: Top Seacret
Written by Riichiro Inagaki
Illustrated by Boichi
Review by Vince J Ostrowski
At 120 chapters and counting, “Dr. Stone” has rather sneakily made it to the point where it’s actually one of the longer running manga that Shonen Jump has to offer. What this means is that its cast of characters and the scope of its storytelling has spun out into something much bigger than its humble beginnings as a science-based tips and tricks manga. Its storytelling is starting to remind me of something like “One Piece”, where different groups of characters have splintered off into groups and writer Inagaki is performing a balancing act between who or what each arc focuses on. In this particular chapter, we’re focused on Kohaku and Ginro (a delightfully androgynous tomboy character, and one of the highlights of the series, so far) infiltrating the lair of the slimy Ibara and his enigmatic master of the Petrifaction Kingdom.
The story here is pretty decent, with this pairing trying to figure out a way into a lair of, well, perverts without getting hurt or abused that leans on the comedy between the two to keep the proceedings from feeling too gross or distasteful. The villains of the story literally refer to these characters as potentially parts of their “harem.” Using harem tropes in manga is a delicate balance that shonen series often get wrong, but I think “Dr. Stone” has traditionally handled that sort of thing pretty well. Boichi even pokes fun at exploitation through the art, teasing the typical manga upskirt and cheesecake shots, while blocking them just in time. It’s funny and playful while keeping “Dr. Stone” from being leering or gross.
I must say that I do kind of miss “Dr. Stone’s” earlier, more focused chapters. Senku does pop his head in to give a fun little science tip about making a pineapple-scented knockout potion (and even breaks the fourth wall to make sure no impressionable readers try this at home), but it feels like little more than a novelty, even in the context of its use later in the story. Senku himself feels a little detached from the story right now, which is fine because the other characters are picking up the slack with their personalities, but “Dr. Stone” definitely feels less driven by the scientific machinations of everything, which for me is the series’ most charming aspect.
The art continues to be wonderful, whether it’s clearly and humorously explaining the pineapple poison to the reader or playfully teasing lewd shots and purposefully not delivering them, as I had mentioned before. But what has become the hallmark artistic aspect of the series are the gritty shots of petrified characters, where the art feels like it comes from a different book. I mean that entirely as a compliment, as the end of this chapter contains one of “Dr. Stone’s” creepiest pages, bar none, and perhaps one of the most striking images I’ve seen in a manga all year. The art is recognizably Boichi’s, while taking on a more detailed, more realistic, and more darkly shaded form. Even if you’re not a fan of the story, it’s worth it to flip through “Dr. Stone” each week waiting to see one of these pages. “Dr. Stone” does several things well, but the art, and specifically these moments of grim detail, are what make the manga something to look forward to flipping through each week.
Continued belowFinal Verdict: 7.0 – Dr. Stone continues to find legitimate ways to extend its plot without relying on filler, even if this particular storyline isn’t its most intriguing yet.
Tokyo Shinobi Squad
Written by Yuki Tanaka
Illustrated by Kento Matsuura
Lettered by Brandon Bovia
Translated by Nathan A Collins
Reviewed by Zach Wilkerson
Despite its somewhat generic premise of cyberpunk ninja, “Tokyo Shinobi Squad” is one of the best additions to Shonen Jump in recent months. Now entering its second arc, the series takes some time to flex its comedic muscles while continuing to deliver dynamic, high-thrills action.
This chapter sees Jin and En team up with Kenryu as they continue their shinobi squad challenge. The challenge takes them to Hopeland, a shinobi-centric hotel in one of the worst wards in this fictional version of Tokyo. From its beginning, “Tokyo Shinobi Squad” has played with political ideas and their effects on society and social structures. In the Orochi quarter, we see a city neglected by government officials, left to struggle in crime and abject poverty. Hopeland, by comparison, is a shining oasis for shinobi, featuring various amenities and entertainment. Shinobi in this world act outside the bounds of normal society, for both good and, as we’ve seen, the bad of society. To see the shinobi as we do here, enjoy luxury amid impoverished squalor, casts their underground vigilantism as more Bruce Wayne elitism.
At Hopeland we meet Kase, the quirky assistant manager of the hotel. It’s here that the chapter begins to delve into a surprisingly comedic tone. Kase’s introduction is punctuated with a series of bizarre poses, many involving a live gun with ricocheting ammunition.
We’re soon introduced to the patently absurd “shinobi.com” a one-stop shop for everything from government secrets to pop idol gossip. They may even have the truth about Area 51, as one character quips in a delightfully current pop-culture reference. On the more dated side of pop-culture, it seems someone has hacked the website and, because of the state of the art firewall, the hacker must be….inside the building!
The ensuing battle sees Kenryu take center stage. As we learn early in the chapter, Kenryu cannot use ninpo, the ninja arts that define shinobi in this world. Instead, Kenryu uses shinobi tools, a concept hinted at by Kase earlier in the chapter. His fire bombs and “Starving Alligator,” a giant bladed whip, make him a formidable opponent despite his ninpo ineptitude. Kenryu’s design also sets him apart, thanks to a fun delinquent styling complete with pompadour hair and popped collar. He’s a terrific foil for Jin and I hope he sticks around.
“Tokyo Shinobi Squad” is an interesting title, falling somewhere between accessible titles like “One Piece” or “Naruto” and the slightly more niche and mature shonen titles like “Seraph of the End” or “Blue Exorcist.” It bears a lot of similarities to other popular shonen books, something that could honestly work either for or against it. However, in the meantime, I’m quite happy to enjoy this quirky gem of a book.
Final Verdict: 7.5 – “Tokyo Shinobi Squad” continues to defy expectation thanks to slick art, fun characters, and a healthy dose of humor.
