oshi no ko chapter 116 vf
Canada: Viz Media.
April 2005. p. 16. ↑ 16. 0 16. 1 "Interview:
Yoshihiro Togashi".
Shonen Jump. Vol. 1 no. 5.
[61] Miura's death and series resumption[edit] On May 20, 2021, Hakusensha announced
that Miura died at 54 due to an acute aortic dissection on May 6, leaving it undecided what would happen to the series. [62][63][64] The posthumous 364th chapter of Berserk was published in Young Animal on September 10 of the same year, which was Miura's last work, and members of Miura's Studio Gaga, which consisted of him and his group of assistants and apprentices,[65][b] worked to finish the manuscript of the chapter. [67] The magazine's issue was a "memorial" to Miura, featuring a special "Messages to Kentarou Miura" booklet and a poster of "famous scenes" from the manga. [68][69] In the same issue, Hakusensha stated that the future of the series remained uncertain and that the staff's priority would "always be placed on him—what he would think if he were still with us. "[70][67] The afterword in the manga's 41st volume (released in December 2021) from Young Animal's editorial staff stated that the future of the manga was still undecided. [71] On
June 7, 2022, Hakusensha and Kouji Mori [ja] announced that the series would continue publication, using plans and thoughts that were relayed to Mori by Miura himself, as well as memorandums and character designs that Miura left behind. [72] Mori related how he had visited Miura nearly 30 years ago when the latter was drawing "the Eclipse" event of Berserk and how his friend completed the storyline for the manga up to its last chapter that week. Mori explained that the story for Berserk had since gone on "exactly as we discussed at the time, with almost no changes. "[72] As the only person who knows the ending Miura intended, Mori agreed to continue the series and promised, "I will only write the episodes that Miura talked to me about. I will not flesh it out. I will not write episodes that I don't remember clearly.
[207] In the
1980s and 1990s, Japanese animation saw decreased production[208] following the economic crash in Japan. [209] This was followed by a crisis of ideas in the years to come. [210] Against this background, Evangelion imposed new standards for the animated serial, ushering in the era of the "new Japanese animation serial",[211] characterized by innovations that allowed a technical and artistic revival of the industry. The production of anime serials began to reflect greater author control, the concentration of resources in fewer but higher quality episodes, typically ranging from thirteen to twenty-six, a directorial approach similar to live film, and greater freedom from the constraints of merchandising. [212] Two cosplayers portraying Asuka Langley Soryu and Rei Ayanami. The franchise has been credited as a conduit for making cosplay a worldwide phenomenon. [213] According to TV Tokyo's Keisuke Iwata, the global spread of Japanese animation dramatically expanded due to the popularity of Evangelion. [214] In Japan, Evangelion prompted a review of the cultural value of anime,[215] and its success, according to Roland Kelts, made the medium more accessible to the international youth scene. [216] With the interest in the series, otaku culture became a
mass social phenomenon. [217][218] The show's regular reruns increased the number of otaku,[219] while John Lynden links its popularity to a boom in interest in literature on the Dead Sea Scrolls, Kabbalah and Christianity. [220] Critics traced Evangelion's influence on subsequent anime series, including Serial Experiments Lain, RahXephon, Texhnolyze, Gasaraki, Guilty Crown, Boogiepop Phantom,[74] Blue Submarine No.
