Former Shonen Jump Editor Slams Modern Manga as Crap

The shockwaves from a small anime convention in Naples, Italy, have traveled thousands of miles to land right in the heart of Los Angeles, sparking a heated debate among the artists and fans who frequent Little Tokyo and the Sawtelle Japantown corridor. Kazuhiko Torishima, the legendary former editor-in-chief of Weekly Shonen Jump and the man who famously pushed Akira Toriyama during the early days of Dragon Ball, didn’t mince words. He called modern shonen manga—specifically targeting the juggernauts like Demon Slayer and Jujutsu Kaisen—nothing more than “crap.” For those of us watching the creative economy in Southern California, this isn’t just a grumpy old man yelling at clouds; it’s a fundamental clash between two different eras of storytelling and commercialization.

The Generational Rift in Visual Storytelling

To understand why Torishima’s comments are hitting so hard, you have to understand the “Torishima Method.” In the 80s and 90s, the editorial process was a brutal, iterative grind. Editors weren’t just managers; they were co-creators who demanded narrative rigor and structural perfection. Torishima believed in the “leisurely burn”—building worlds and characters through meticulous pacing. When he looks at the current landscape, he sees a shift toward what some call “fast-consumption” content. Modern hits are often designed for a digital-first audience, where pacing is accelerated to maintain engagement in an era of dwindling attention spans.

In Los Angeles, we see this same tension playing out in the local film and animation industry. Whether it’s the studios in Burbank or the independent animators working out of Silver Lake, there’s a palpable divide between the “old guard” who value cinematic breath and the new wave of creators who prioritize viral “moments.” The success of series like Demon Slayer isn’t just about the story; it’s about the breathtaking production quality provided by studios like Ufotable, which often masks thinner plotting. Torishima is arguing that the “soul” of the manga—the ink, the page layout, the narrative tension—has been sacrificed for the spectacle of the anime adaptation.

The Economic Engine of Modern Manga

The irony here is that while Torishima might despise the current state of the art, the economic engine has never been more powerful. Entities like Viz Media and Crunchyroll have turned manga from a niche hobby into a mainstream cultural powerhouse in the US. In LA, this has manifested as a booming secondary economy of themed cafes, high-end collectibles and massive conventions. The “crap” Torishima refers to is, in reality, a finely tuned product designed for global scalability.

This shift has created a peculiar environment for aspiring artists in the Southland. Many young creators are bypassing traditional art fundamentals in favor of mimicking the “modern style” that trends on social media. We are seeing a homogenization of art styles that mirrors the “corporate Memphis” look in tech. When you look at the evolving trends of the creative industry, it becomes clear that the market is rewarding efficiency and recognizability over the idiosyncratic experimentation that defined the Golden Age of Jump.

Local Implications for the LA Creative Community

For the thousands of artists in Los Angeles trying to break into the industry, this debate is more than academic. The Los Angeles Department of Cultural Affairs has long supported the intersection of international art and local talent, but the “Torishima Critique” highlights a gap in current education. If the industry is moving toward a model where the anime adaptation does the heavy lifting, the role of the original manga artist changes from a master storyteller to a storyboard provider.

There is a risk that the “craft” of sequential art is being lost. In the cafes of Little Tokyo, you can still find veteran artists who swear by the G-pen and the physical manuscript. They argue that the tactile nature of manga creation informs the pacing of the story. When everything moves to digital tablets and AI-assisted layouts, the “friction” that often leads to creative breakthroughs disappears. What we have is the “entropy” Torishima is likely reacting to—a world where art is too smooth, too swift, and too hollow.

However, the resilience of the LA community lies in its ability to synthesize. The most successful local creators aren’t choosing sides; they are blending the rigorous structural demands of the old school with the high-impact delivery of the new. By studying the history of the medium—perhaps through resources at the Japanese American National Museum—local artists are finding ways to inject depth back into the “fast-food” style of modern shonen.

Navigating the New Creative Landscape

Given my background in analyzing the intersection of cultural trends and professional services, it’s clear that the “Torishima Effect” creates a specific set of challenges for creators in Los Angeles. If you are an artist, writer, or entrepreneur caught in this shift between traditional craft and modern commercialism, you can’t just “wing it.” The gap between creating a viral hit and building a sustainable career is wider than ever.

If this industry volatility is impacting your creative path here in LA, these are the three types of local professionals you should be consulting to ensure your work has both longevity and legal protection:

Specialized Art Mentors & Portfolio Coaches

Don’t just look for someone who can draw. You need a mentor who understands the “Old Guard” fundamentals (anatomy, perspective, and narrative pacing) but is fluent in modern digital pipelines. Look for professionals who have a track record of placing students in major studios or who have published work that balances traditional storytelling with modern aesthetics. Avoid “influencer” coaches who only teach you how to get likes; seek those who teach you how to build a world.

Entertainment & Intellectual Property Attorneys

With the rise of global licensing and the aggressive nature of modern manga/anime contracts, a general lawyer isn’t enough. You need an IP specialist familiar with international copyright law, specifically the nuances between Japanese and US publishing rights. Ensure they have experience with digital distribution agreements and “work-for-hire” contracts to prevent your intellectual property from being absorbed by a larger entity without fair compensation.

Cultural Consultants & Historians

To avoid the “hollow” feeling Torishima complains about, creators need deep cultural grounding. Engaging with consultants who have ties to institutions like the Japanese American National Museum can help you move beyond stereotypes and superficial tropes. Look for consultants who can provide a critical analysis of shōnen history and help you integrate authentic cultural markers into your work, giving it the “soul” that the old-school editors crave.

whether you agree with Torishima or think he’s out of touch, the conversation is a necessary wake-up call. The tension between art and commerce is the engine of creativity. In a city like Los Angeles, where the line between “content” and “art” is permanently blurred, the goal is to ensure that the next generation doesn’t just produce “crap,” but creates legacies that will be debated fifty years from now.

Ready to find trusted professionals? Browse our complete directory of top-rated anime manga experts in the Los Angeles area today.