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At some point Baki tells him that the only chance to defeat him is to hit him in the face (which is against the rules). Angry Suedou agrees and strikes him in the face with all his might, destroying his hand. Baki then quickly defeats his opponent and wins the tournament. After the fight, Doppo tells Baki that he knows the truth about him and he realizes that this kind of strength is not gained from tournaments like this one. Later, Baki meets Kiyosumi Katou, who has watched his duel and wants to provoke him to battle. Eventually, they are interrupted by an old jujutsu master named Izou Motobe, who also wanted to meet Baki after the finals.

The kanzenban is 15 volumes long (as opposed to the original 19 tankōbon, each book contains more chapters than the basic editions), with two released monthly. [6][7] The YuYu Hakusho manga is serialized in North America by Viz Media in the American Shonen Jump magazine. [3] The first volume was released on May 13, 2003, as of January 2010 all 19 volumes were released and the series finished its run in Shonen Jump. Anime[] Main article: List of YuYu Hakusho episodes The anime, directed by Noriyuki Abe and co-produced by Fuji Television, Yomiko Advertising, and Studio Pierrot, consists of 112 television episodes and two movies: The Golden Seal and Bonds of Fire. The series aired from October 10, 1992, to January 7, 1995, on Fuji Television in Japan. [8] In North America, the episodes aired from February 23, 2002, to April 1, 2006, on Cartoon Network.

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Production[edit] Despite the series' violence and dark humor, Tatsuki Fujimoto always wanted to serialize in Weekly Shōnen Jump, but he had the feeling that his work would be "buried" if he had made a "Jump-like manga", so he tried to retain much of his individuality as a creator while making only the structure and characters Jump-like. Fujimoto also said that, despite its success in the magazine, he wanted to write the second part of the series on Shōnen Jump+, because he wanted to do a completely different series from the first part. According to him, there is not much of a difference in working between Weekly Shōnen Jump and Shōnen Jump+, explaining that there were a few depictions that got stopped during the rough draft stage, but he was allowed to do anything he wanted regarding the logic of the story. [5] Fujimoto said that he took inspiration from various works. During the serialization of Chainsaw Man, Fujimoto said that he was too busy, but he watched as many new things as he could and borrowed various elements from what he saw. [5] On Twitter, he stated that he was a fan of the 2016 film trilogy Kizumonogatari, and that the trilogy's final battle, shown in Part 3: Reiketsu, inspired the final battle of the first part of Chainsaw Man. [6] He also described the series as a "wicked FLCL" and a "pop Abara. "[7] Fujimoto had various elements from the series planned from the beginning, while other things were added as it progressed. He did not have specific plans to bring payoff to the meaningful-sounding words and things that felt "off", adding that he left various things vague to make the series' second part easier to do. [5] Regarding the anime adaptation of the series, Fujimoto stated that he talked to the people handling it and he was comfortable leaving things to them. [5] When the anime series was officially announced, Fujimoto commented: "Chainsaw Man is like a copycat of Dorohedoro and Jujutsu Kaisen, and the studio of Dorohedoro and Jujutsu Kaisen will produce its anime!? I have nothing to say! Please do it!"[8] According to the manga's editor, Shihei Lin, Fujimoto is heavily involved in the production of the anime series, stating: "Fujimoto-san has seen all the Chainsaw Man's pitch documents, story structure, scripts, and even the storyboards. [8] The fight scenes were choreographed to appear more realistic than other period dramas, which featured a clashing of swords which in reality would chip them. [5] Unique eyecatch artwork was created for each episode based on its themes and content. Woodblock prints portraying the characters, designed by former shojo manga creator Tsubaki Anna, were shown at various points through the series. Nakazawa created the illustration use for sponsor announcements. [39] Scenario and art design[edit] Samurai Champloo was Obara's first time working on an anime series, and Watanabe attributed him with bringing a new style of narrative and pacing to the series. [5][8] Sato had worked with Watanabe before on Macross Plus. [8] He described the process of discussing plot concepts with Watanabe and building upon voiced ideas, treating his own contributions like sample discs that might be accepted or rejected. [40] The script meetings were unusually long, beginning with the synopsis and ending up with the final form, alongside off-topic conversation that was sometimes incorporated into that episode's plot. [8] Due to Watanabe's reputation and the success of his projects in the West, the anime was created with a Western audience in mind with the expectation that it would be more successful outside Japan. This resulted in more overt references to Western culture being included. [41] An assassin character who appeared in the second episode was intended to appear during the finale, but he was cut due to time constraints and a general lack of people remembering his earlier appearance.