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The story
A thread rounding up manga that surprise people once they learn they actually ran in Weekly Shonen Jump — titles like “Barefoot Gen” and “Gutsy Frog.” One after another, works came up that are strongly associated with other magazines or that nobody ever thinks about in terms of which magazine serialized them, including City Hunter, Cat’s Eye, Midori no Makibao, Astro Kyudan, Samurai Giants, and Death Note. Opinions were especially split over “Barefoot Gen”: one comment pointed out that at the start of its run it wasn’t meant as peace education at all but was on a battle/gag-manga track, while others pushed back that given the author’s intent, it’s a stretch to claim the work was ever free of political overtones.
What people said
True, a lot of the setups couldn't get published today, but (Cat's Eye aside) City Hunter skews noticeably younger than the genuine hard-boiled stuff.
Still, it's clearly a notch above Dragon Ball or Kinnikuman in terms of age level.
For what it's worth, the same author did run a series called "Unpoko" in CoroCoro Comic.
Hey, Tetsugaku News (a matome/news-aggregator blog)!
Get this one summarized!
By the way, here's where the Mabel girls are from
・Mabel-chan → Sendai, Miyagi Prefecture
・Pacifica-chan → Saitama City, Saitama Prefecture (formerly Omiya City)
・Wendy-chan → Niigata City, Niigata Prefecture
They go up against manager Kaneyan's Lotte team (Kaneyan = nickname for legendary manager Masaichi Kaneda)
That's George Akiyama, right?
Didn't it end pretty quickly?
Yoroshiku Mecha-Dock was good too
I see, makes sense!
There was Masatoshi Usune's Killer Boy
It's Tsugumi Ohba (nicknamed "Obatsu-gumi" as wordplay), right?
And yeah, it really doesn't give off much of that friendship-effort-victory vibe…
though it is a battle of wits.
No, honestly, given how the author clearly felt about the subject, it's a stretch to say there was no political angle to it.
Background and points of debate
“Barefoot Gen” began serialization in Weekly Shonen Jump in 1973. While it drew on the author’s own wartime experience from the start, its early chapters carried battle-manga and gag-manga elements. After its run in Jump ended, the series moved to other outlets such as “Shimin” and “Bunka Hyoron,” and it was there that its anti-war, anti-nuclear message grew stronger. The thread’s disagreement boiled down to a single question: did the series carry political intent from the very start of its serialization? One camp argued that, since the work is grounded in the author’s lived experience, its political character can’t be separated out even from the beginning; the other argued that its style shifted only after it changed magazines. Also striking is the gap with today’s image of Jump — cases like “City Hunter” and “Cat’s Eye,” where the magazine’s image doesn’t match its actual readership, and Showa-era hot-blooded sports manga like “Astro Kyudan” and “Samurai Giants” that once ran there too.
*This article is excerpted and summarized from the 5ch (Nandemo Jikkyo G) thread “Three things people are surprised to learn actually ran in Weekly Shonen Jump: “Barefoot Gen,” “Gutsy Frog”.”


























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