1週間体調を崩しておりました
先週の土曜日に喉を痛めて、そこから9日経ったいまなお少し体調が悪いです
熱が出ない分長引くタイプの風邪が流行りですね
ジャンプ感想書きます
I was feeling unwell for a week. I hurt my throat last Saturday, and even now, 9 days later, I still feel a little sick. It seems like a cold that doesn't cause a fever but lingers is going around. Anyway, I'll write my Jump review.
目次
さむわん
モジュロ
ワンピ
逃げ若
あかね
バチ
鵺
ロボコ
ウィッチ
ひまてん
オテル
後書き
Table of Contents: SAMUWAN, Modulo, One Piece, Nigewaka, Akane-banashi, Bachi, Nue's, Roboco, Witch Watch, Himaten, Othello, Postscript
たまたまかもだけど
新人の新連載の2回目巻頭の時ってセンターカラー強めにしてる？
ともかく、新章スタートですね
一応感動を誘うシーンではあったけど、絵がゆるいまんまで、ミメイのリアクションもさりげなくて良かったです
さむわんへるつにはゆるいのを求めてるので
泣きながらティッシュを洗って返そうとするクラゲのシーンでコレコレってなりました
最後のページの3段目の小岩井の流れとかも、ドラマ的には絶対要らないのにわざわざねじ込んでるところも助かりますね
Maybe it's just a coincidence, but when a rookie's new series gets the cover for the second time, do they tend to make the center color stronger? Anyway, a new chapter starts. It was supposed to be a moving scene, but the art remained loose, and Mimei's reaction was subtly nice. I'm looking for looseness in SAMUWAN Hertz, so the scene with the jellyfish trying to wash and return the tissues while crying really hit the spot. I also appreciate that they deliberately shoehorn in the flow of Koiwai in the third panel on the last page, even though it's absolutely unnecessary from a dramatic standpoint.
里香真剣、手、というか構えがかっこいいなずっと
バトルの仕方も幼稚な感じ（岩持って殴ったり）がグッド
最後の木が生えてくるところは一瞬領域かと思ったけど違ったか
そもそもシムリアの呪術には領域の概念はあるんだろうか
極ノ番みたいに別の極地がある説もなくはないか
ダブラの方は、ハマったまこーらの強さが出てますね
法輪の予備知識なく適応に勘付いたのは賢いが、打撃でワンパンできるか？
あんまり内面が見えてなかったダブラがここにきて主人公みたいなこと言い出してアツいな
しかし、いいやつそうなマルが戦士であることに狂気と言えるレベルでこだわってた、みたいなキャラクターの印象を一気に変えるエピソードをモジュロは意識して入れてますよね
クロスもそうだったし、1話の真剣もそう
表面を見てるだけでは何もわからないっていう、相互理解の話なのかもしれない
あと今週読んでて思った、当たり前かもしれないことですが
バトル漫画のバトル描写ってぶっちゃけそれだけで面白いものではなくて
バトルそのものに対する期待感をバトルの前にどれだけ用意できるかが全てだなぁ
このキャラってどんな能力持ってるんだろうとか、どうやってこの化け物倒すんだろうとか
あとは今回のモジュロとは別のやり方だけど、この敵はムカつくから絶対に倒して欲しいって気持ちとか
もちろんアクションのかっこよさは大事だけど、モジュロとバチのアクションシーンがこんなに面白く感じるのはなぜだとふと思ったことに対するとりあえずの考察でした
Rika's seriousness, her hands, or rather her stance, is cool. The way she battles has always felt childish (like hitting with rocks), which is good. When the tree grows at the end, I thought it was a domain for a moment, but I guess not. Does Simuria's sorcery even have the concept of a domain in the first place? It's not impossible that there's another extreme like Gokuno Ban. On the Dabura side, the strength of Hamatta Makora is showing. He's smart to realize the adaptation without any prior knowledge of the Dharma wheel, but can he take them out with one punch? Dabura, who hasn't shown much of his inner self, is suddenly saying things that make him seem like the protagonist, which is intense. However, Modulo consciously includes episodes that completely change the impression of characters, like Maru being so obsessed with being a warrior that it's almost insane. Cross was the same, and so was Shinken in the first episode. Maybe it's a story about mutual understanding, where you can't understand anything just by looking at the surface. Also, I thought while reading this week, and this might be obvious, but the battle depictions in battle manga aren't really interesting on their own. It all depends on how much anticipation you can build before the battle, like what kind of abilities does this character have, or how are they going to defeat this monster? Or, in a different way from this week's Modulo, the feeling that you absolutely want this enemy to be defeated because they're annoying. Of course, the coolness of the action is important, but these were my tentative thoughts on why I feel Modulo and Bachi's action scenes are so interesting.
過去編＋エルバフもDなのだ宣言で完全に巨人族が味方で確定ですね
と思ったけど、黒ひげサイドの可能性は全然あるか
なんせロキが待ってた男はロックスだし
最後のコマ、ブルックがやられた感ちょっとあってワロタ
With the past arc + the declaration that Elbaf is also D, it's completely confirmed that the giants are allies, or so I thought, but there's still a chance they're on Blackbeard's side. After all, the man Loki was waiting for is Rocks. I laughed a little because it felt like Brook got taken out in the last panel.
ゲンバとのやりとり、めちゃ良かったな
こいつとだけは損得から始まった関係だからこそ沁みるものがある
あとはもう粛々と処刑されるだけかと思いきやもうひと盛り上がりあるのは楽しみすぎるな
全く予想つかないし
ところで、最近「諏訪の神様が気になるの」という本を読み始めまして
これが諏訪大社の成り立ちや、諏訪氏の歴史を古文書から読み解こうといったものなんですが
最近読んでる部分では諏訪頼継の話題が結構出てきてテンション上がったので、その話をちょっとします
頼重よりもむしろ頼継の方が記載が多かったですね
現人神となった諏訪氏は諏訪からでちゃダメだし不浄なものに触れてはならないので、戦に出るなんてもってのほかなんですが（中先代の乱の時は頼重とか時継は現人神の座は頼継に譲ってた）、頼継は現人神のまま出兵したので、辻褄を合わせるため色々と儀式とかしてたらしいです
影の薄い時継の話はやっぱりあんまり出てこなかった
あと、実はこの時代、尊氏の元に諏訪円忠という人が支えていて、諏訪大社の立場を回復すべく奮闘してたって話も、逃げ若の裏側の出来事として面白かったです
頼継と円忠はもしかしたら逃げ若のエピローグで語られたりするかもですね
The interaction with Genba was really good. It's precisely because their relationship started from profit that it resonates so much. I was expecting him to just be executed quietly, but I'm looking forward to another climax. I have no idea what's going to happen. By the way, I recently started reading a book called "I'm Curious About the Gods of Suwa," which tries to decipher the origins of the Suwa Grand Shrine and the history of the Suwa clan from ancient documents. I got excited because the part I'm reading recently mentions Suwa Yoritsugu quite a bit, so I'll talk about that for a bit. There were more mentions of Yoritsugu than Yorishige. The Suwa clan, who became living gods, shouldn't leave Suwa and shouldn't touch anything impure, so going to war was out of the question (during the Nakasendai Rebellion, Yorishige and Tokitsugu handed over the position of living god to Yoritsugu), but Yoritsugu went to war as a living god, so it seems like they performed various rituals to make it work. As expected, there wasn't much talk about Tokitsugu, who had a weak presence. Also, the story of Suwa Enchu, who supported Takauji during this era and fought to restore the position of the Suwa Grand Shrine, was interesting as a behind-the-scenes event in Nigewaka. Yoritsugu and Enchu might be mentioned in the epilogue of Nigewaka.
死とはなにか、ベタながら大好きなテーマきました
陽の死神で思い浮かべるのはメキシコの死者の日ですね
あまり詳しくないですが、あれはかなり明るい祭日のようで
死の捉え方がかなり違いそうだなぁと思いつつあまり深く勉強していないところなので何か出てきても絡めた感想が書けないかもしれない
正明師匠は、個人的にかなり好感度高いキャラなので掘り下げ楽しみ
What is death? It's a classic theme that I love. The Day of the Dead in Mexico comes to mind as a positive depiction of death. I don't know much about it, but it seems like a very bright holiday, and their perception of death seems quite different. I haven't studied it in depth, so I might not be able to write any related impressions even if something comes up. I personally have a very high opinion of Master Masaaki, so I'm looking forward to delving into his character.
おもろすぎる
「彼だけが自由に舞う」とか、蝶を捌いての反撃とか、千尋ってやっぱ最高の主人公だなって気持ちで読んでたはずなのにラスト急転直下だもんな
これでこそバチ
明無良の行動の迅速さと遊びのなさにも痺れた
脅威認定してから即刀を折って使い手も殺す
発した言葉が「心臓は左だな」だけなのもスマートすぎますね
殺意、というよりは淡々と障壁を排除するような感触
「できれば殺したくない」というありがちなセリフが、ある意味で本気だったことがわかりますね
言葉の裏の「必要なら殺す」をここまで徹底できる前提でこの言葉を使う奴がどれほどいるんだろうか
明無良とかいう最高の敵、ストレッチし始めてからずっと魅力増してきてる
僕的にはなんやで双城が1番好きな敵だったなと思ってたけど、明無良は流石に超えれる
てか実際これやられたらどうするんだ？
千尋が自分で刀打ち直すのか？
千尋は流石に雀で生き返ると思うけど…
ただそういうメタ的なこと考えなければ、明無良はこの場で飛宗も折るよなぁ…
呪術信者すぎて最近はもうずっとモジュロのこと考えてたけど、流石に今週はバチが1番面白かったです
It's so damn interesting. I was reading it with the feeling that Chihiro is really the best protagonist, with lines like "Only he dances freely" and the counterattack of dissecting the butterfly, but then the last part takes a sudden turn. That's what makes Bachi so great. I was also impressed by Myomura's swiftness and lack of playfulness. He immediately broke the sword and killed the user after identifying the threat. It's so smart that the only words he said were, "The heart is on the left." It feels like he's calmly eliminating obstacles rather than being driven by murderous intent. You can see that the common line "I don't want to kill him if I can avoid it" was, in a sense, genuine. I wonder how many people use this phrase with the premise that they can thoroughly do "I'll kill him if necessary." Myomura, the best enemy, has been getting more and more charming since he started stretching. I thought Sojo was my favorite enemy, but Myomura is definitely surpassing him. I mean, what would you actually do if that happened to you? Is Chihiro going to reforge the sword himself? I think Chihiro will definitely be revived by Suzume... But if you don't think about those meta things, Myomura would break Hiso's sword on the spot... I've been thinking about Modulo so much lately because I'm a jujutsu believer, but Bachi was the most interesting this week.
町田可愛すぎるな
最近のジャンプ漫画に足りないラッキースケベもこなせる優秀すぎるヒロイン
主人公の名前を呼ぶだけで覇王色の覇気か黒閃かをキメることができるのも強い
Machida is so cute. She's a super capable heroine who can also handle the lucky pervert stuff that's missing from recent Jump manga. She's also strong enough to activate Conqueror's Haki or Black Flash just by saying the protagonist's name.
今週もいいモブが出てきたのも良かったっすね
とりあえず出てくるナンパ野郎が地味に良かった
ナンパしてくるやつは「一緒に回らん？」みたいなTwitterのオタクみたいな口調じゃないだろ
それと
一般通行人としては癖が強すぎるこいつらは何？
It was also good that a good mob character appeared this week. The guys hitting on girls were subtly good. Guys who hit on girls wouldn't say things like "Want to hang out together?" like Twitter otakus. And these guys are too quirky for ordinary passersby. What are they?
あと姫様がいてくれて良かった
こいついないとまともな奴いないんだもんな
一応婚約者として外に出てきたはずだけど、ちゃんと自分メインじゃない回は適切なロールに徹底してくれるし
優秀
月歌もしれっと外に出れたしボケにも参加してるけど、今週もっと色々ありすぎて些事なきがしている
I'm glad the princess is there too. There's no one normal without her. She's supposed to be out as a fiancée, but she thoroughly plays her appropriate role in episodes where she's not the main focus, and she's capable. Tsukika also managed to get out unnoticed and participate in the jokes, but there's been so much going on this week that it feels like a minor detail.
別に今回に限った話じゃないけど、本当にジャンプ読者の内輪ネタ漫画だなぁと思って読んだ
でもこういうのでいいんだよな
当たり前のように10年も前に完結した漫画の割とどうでもいい敵を出すような、「俺らしかわからんやろw」って漫画が一本くらいあってこそ漫画を雑誌で読む意味があるのかもしれない
トリコネタをちゃんとやってくれる漫画は世の中に一つくらいあるべき
It's not just this time, but I read it thinking it's really a manga for Jump readers with inside jokes. But this kind of thing is good. There should be at least one manga that's like, "Only we'll get this, lol," like casually bringing up a relatively unimportant enemy from a manga that ended 10 years ago, because that's what makes reading manga in a magazine worthwhile. There should be at least one manga in the world that properly does Toriko references.
敵組織が生徒会の変な奴らとどう違うのかよくわからなくなってきた
国領挙動不審すぎて勘づかれてそうやな
I'm starting to not understand the difference between the enemy organization and the weirdos in the student council. Kunishiro's behavior is so suspicious that he's probably being noticed.
次の改変で切られてもいいように展開進めてる？
多分今回はオテル、ゴンロン、逃げ若が抜けて、次はハルカゼ、小副川、JK魔王がいるからまだ耐えれそうだし杞憂か？
ここからひまりが逆転する要素なさすぎてどうするつもりなのかは普通に気になる
これひまりの気持ちの整理はつくのかもだが、てんいち的にはポノカの方に行かない理由無くなっただけだもんな（そう簡単に割り切りはしないんだろうけど）
Are they progressing the story so it's okay to get cut in the next reorganization? Probably Othello, Gonron, and Nigewaka will be cut this time, and then Harukaze, Kozukegawa, and JK Maou will be there, so it might be able to endure, or is it just unfounded anxiety? I'm just wondering what they're planning to do since there's no element for Himari to reverse the situation from here. I wonder if Himari's feelings will be sorted out, but from Tenichi's perspective, there's no reason not to go to Ponoka (although he probably won't give up so easily).
終わっちゃったなぁ
炎の剣で戦うファンタジーモノは王道って感じで好きだったんだけど…
同じハイファンタジーで比べると、やっぱ主人公が弱かったのかなぁ
イチとか、もっと言うならルフィも、読者の期待を超えて何かをしてくれる期待はあったからなぁ
オテルにはそれはなかったかも
期待を超えないまでも、多分読者が思う「こうなればいいのに」をスカッとやってくれるだけでも印象良くなるし、求められてるのはそれなのかも
強い敵が出てきたらいきなりウロロ特化しないといけないし、アラビダにはイカついおばさんと言わなければならんのかもしれん
そうでなければヒロアカみたいに応援したくなるか
とはいえ精霊戦記って感じの描写が増えるに従って面白くはなってたと思うんだよな
特にクーテーン加入あたりから
ドアドアもコーレリオもいい敵キャラだったし
個人的にはこういう話のスケールに対して、そこら辺の炊事係の少年の存在のちっささのギャップは好みだったんだけど…
主人公中心に話が進むとスケール感は見えてこないからキャラを立てざるを得ず
オテルが戦いに参加するモチベーションがふわふわしてる（なんか平和になってほしいくらいの雰囲気で読んでしまってた）分キャラ立ちが弱かった
みたいな感じかなぁ
絵は読切の頃から評価されてるし、3回目でヒロアカみたいなの出してほしいところ
It's over... I liked fantasy stories with flaming swords, which felt like the royal road... Compared to other high fantasies, I guess the protagonist was weak. Ichigo, or even Luffy, had the expectation that they would do something beyond the reader's expectations. Othello didn't have that. Even if they don't exceed expectations, just doing what the reader thinks "it would be nice if this happened" would improve the impression, and maybe that's what's being asked for. When a strong enemy appears, he suddenly has to specialize in Uroro, and he has to call Arabida a burly old woman. Otherwise, he has to be someone you want to support like My Hero Academia. However, I think it became more interesting as the depiction of the Spirit Chronicles increased. Especially from around the time Kuteen joined. Door-Door and Correo were also good enemy characters. Personally, I liked the gap between the scale of the story and the smallness of the existence of the boy working in the kitchen there... If the story revolves around the protagonist, the sense of scale isn't visible, so you have to establish the characters, but Othello's motivation to participate in the battle is vague (I was reading it with the feeling that he just wants peace), so maybe his character development was weak. His art has been praised since the one-shot, so I want him to create something like My Hero Academia on his third try.
仮面ライダークウガ展に行きました
面白すぎましたね
企画発足からキャラクターデザインの変遷、設定の裏話が見れるのはもちろん、製作陣の思いがいかに詰まった作品なのかがわかる展示でした
正直クウガはうろ覚えだったんですが、創作物を見るのが好きならいく価値あるのでは？ってくらい行って得られたモノは本質的だった気がしてます
まず、怪獣特撮に憧れて業界に入ったのに、景気の問題などで怪獣モノをやらない世界に入ってしまった人たちが、ライダー復活を機に有り余っていた熱をぶつけてグロンギというショッキングな敵組織を作り上げていくストーリーも熱かったし
作品に込められたメッセージがとことん子供を舐めてないのも、当時子供だった自分としては嬉しかったし（暴力という最も避けるべき解決方法をとっている五代雄介は裁きを受けるべきだ。そしてそれは五代に戦いを強いることしかできない周囲の人々も同様だ、という考えとか）
ちょっと↑で書いちゃったけど、五代に対してすごい真摯に向き合って作品を作ってることも感動しました（例えば優しい五代がいきなり戦闘向きの姿に変身するわけがないからと急遽予定になかったグローイングフォームを作成したりとか）
あと、製作陣が井上敏樹に「お前ら自分のために作ってたよな」と言われてたのも良かったですね
本人たちは子供のために…というのが大前提にあったみたいですが、周りからは自分のために目を爛々と輝かせながら作っていたと思われているのはなんか漫画みたいだなと思いました
ともかく良かった
今年は展示にどの程度行くか不明ですが、これを超える感動はなかなかないかもしれません
せっかくなので僕が1番好きなドラゴンフォームのクウガだけ貼っときます
ではまた来週〜
I went to the Kamen Rider Kuuga exhibition. It was so interesting. It was an exhibition where you could see the transition of character designs from the start of the project, behind-the-scenes stories of the settings, and of course, understand how much the production team's thoughts were packed into the work. Honestly, my memory of Kuuga was vague, but I think it was so worthwhile to go if you like seeing creative works because the things I gained were essential. First of all, the story of the people who entered the industry wanting to create monster special effects but ended up in a world where they didn't create monster works due to economic problems, and then poured their overflowing enthusiasm into creating the shocking enemy organization Grongi when Rider was revived, was also passionate. I was also happy as a child at the time that the message in the work didn't condescend to children at all (Yusuke Godai, who is taking the most avoidable solution of violence, should be judged. And so should the people around Godai who can only force him to fight, etc.). As I wrote a little bit ↑ above, I was also impressed by the fact that they were making the work with a very sincere approach to Godai (for example, they suddenly created the Growing Form, which was not planned, because there was no way that the kind Godai would suddenly transform into a combat-oriented form). Also, it was good that the production team was told by Toshiki Inoue, "You guys were making it for yourselves." It seems like they had the premise that it was for the children, but it was like a manga that people around them thought they were making it with their eyes shining brightly for themselves. Anyway, it was good. I don't know how many exhibitions I'll go to this year, but there probably won't be much that surpasses this感動. Since I went to the trouble, I'll just post my favorite Dragon Form Kuuga. See you next week~
