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Business Jump

Business Jump (Japanese: ビジネスジャンプ, Hepburn: Bijinesu Janpu) was a Japanese seinen manga anthology magazine published by Shueisha under its Jump line of magazines from May 1985 to October 2011. Aimed at male office workers in their 30s and 40s, it specialized in stories with mature themes often related to business, career challenges, and adult life. Launched as a monthly publication, Business Jump shifted to a biweekly schedule in March 1986, releasing issues on the first and third Wednesdays of each month with a circulation of approximately 240,000 copies per issue. The magazine's content was compiled into volumes under the "Young Jump Comics" imprint, distinguishing it from 's younger-oriented Jump titles. It was the first magazine explicitly targeted at salarymen, filling a niche for working professionals seeking serialized beyond typical shōnen fare. In response to evolving market trends and reader preferences in the seinen manga sector, discontinued Business Jump in late 2011, merging it with the similar to form the new biweekly anthology . The final issue, a combined 21st/22nd edition, was released on October 5, 2011, after which several ongoing series transitioned to the successor publication. Business Jump gained recognition for serializing influential seinen titles that appealed to its adult readership, including Battle Angel Alita (Gunnm), a cyberpunk epic by Yukito Kishiro that ran from November 1990 to March 1995 and explored themes of identity and technology in a dystopian future. Another prominent series was One Outs by Shinobu Kaitani, a psychological baseball drama serialized from 1998 to 2006, focusing on strategy, gambling, and corporate intrigue in professional sports. These and other works, such as Sweet Life and Takeki Ōgon no Kuni, highlighted the magazine's emphasis on sophisticated narratives blending everyday professional struggles with dramatic storytelling.

Overview

Publication Details

Business Jump debuted in May 1985 as a monthly anthology published by , Inc., marking the company's first magazine targeted at salarymen. The publication schedule shifted to semi-monthly (biweekly) starting in March 1986, with issues releasing on the first and third Wednesdays of each month and a circulation of approximately 240,000 copies per issue in its later years. serialized in the magazine were released in volumes under the Young Jump Comics imprint, part of Shueisha's broader line of publications. Positioned as a business-themed counterpart to the more general seinen title , Business Jump maintained its focus on mature narratives suited to working professionals throughout its run. The magazine concluded with its final combined issue (No. 21/22) on October 5, 2011, after 26 years of publication.

Target Audience and Format

Business Jump targeted young business professionals, particularly adult male salarymen in their twenties and thirties, as a dedicated publication for working adults within Shueisha's Jump lineup. The magazine specialized in , emphasizing genres such as corporate dramas, financial intrigue, adventure, and mature narratives that aligned with the professional experiences and interests of its readership. In format, it followed the standard structure of Shueisha's Jump anthologies, featuring black-and-white interior pages with colorful covers and issues generally spanning 300 to 400 pages to accommodate multiple serialized series alongside supplementary material. Unlike the youth-focused Weekly Shōnen Jump, which prioritized action-oriented stories for teenage boys, Business Jump distinguished itself by favoring realistic, adult-oriented content without relying on exaggerated shōnen tropes.

History

Launch and Early Years (1985–1989)

Business Jump was launched by in July 1985 as the publisher's inaugural magazine aimed at salarymen and young professionals, seeking to address the lack of dedicated content for adult business readers in the burgeoning seinen genre. Inspired by the rapid success of , which had expanded Shueisha's reach into young adult demographics since its 1979 debut, the new title positioned itself amid Japan's era, emphasizing themes of corporate life, ambition, and workplace dynamics. The inaugural issue, dated , debuted as a monthly publication to gauge market viability, featuring serializations tailored to its target audience of working men in their 20s and 30s. Business Jump transitioned to a biweekly schedule in March 1986 to capitalize on growing demand. This adjustment allowed for more frequent content updates and helped solidify its presence in a competitive landscape dominated by veteran seinen outlets. The magazine's early strategy focused on curating mature narratives that resonated with salaryman culture, drawing talent from Shueisha's established roster to ensure quality from the outset. Despite these efforts, Business Jump encountered challenges from entrenched competitors like Kodansha's Big Comic series, which held significant market share among adult male readers through long-running, realistic dramas. By 1987, the magazine had begun establishing a foothold, contributing to Shueisha's overall circulation surge past 500 million copies annually across its portfolio.

Expansion and Peak Era (1990–2000)

During the 1990s, Business Jump entered a phase of substantial growth, aligning with Japan's period, which boosted demand for content targeted at young professionals and salarymen. The magazine maintained its biweekly publication schedule, established since 1986, allowing for consistent delivery of business-themed and to its expanding readership. This era marked the publication's most successful decade, as it capitalized on the vibrant economic climate to enhance its market presence among working adults seeking escapist yet relatable stories. A key milestone came during the serialization of Yukito Kishiro's from 1990 to 1995, which propelled Business Jump to its all-time peak circulation of over 760,000 copies per issue—the highest in the magazine's history. Over that five-year span, the publication achieved a cumulative circulation exceeding 50 million copies, generating an estimated ¥10.74 billion (approximately $135 million) in revenue. This surge reflected the magazine's rising popularity and its ability to attract high-profile series that resonated with audiences amid the bubble economy's optimism. To accommodate growing demand, expanded the Business Jump lineup with special editions in the 1990s, which featured additional content and helped diversify the brand's offerings. The team grew to support this expansion, though specific figures from the period remain undocumented in available records. from corporate sponsors increased during the years, further solidifying the magazine's positioning as a key medium for business-oriented narratives. Cross-promotions with sister publication Weekly Young Jump enhanced visibility, allowing shared marketing efforts to broaden the line's appeal across seinen demographics. Following the bubble's burst in the early , Business Jump adapted to the ensuing by gradually diversifying its thematic focus beyond strictly business stories, incorporating broader social and dramatic elements to maintain reader engagement and sustain circulation levels.

Decline and Discontinuation (2001–2011)

Following the peak circulation era of the , Business Jump experienced a steady decline in readership starting in the early , attributed to broader shifts in Japan's manga industry, including the rise of consumption and prolonged that reduced on print publications. Circulation figures, which hovered around 400,000 copies per issue in , fell to approximately 360,000 per issue by , reflecting from emerging online platforms offering free or low-cost web manga that appealed to the magazine's young adult demographic. By 2011, print sales had dropped further to about 238,500 copies per issue, underscoring the challenges posed by audience migration to digital formats and the overall contraction in physical sales across Shueisha's titles. In response to these pressures, Business Jump underwent operational adjustments, including a schedule change in April 2008 that shifted release dates from the 1st and 15th of each month to the 1st and 3rd Wednesdays, aiming to optimize distribution amid falling sales. Despite efforts to revitalize content with a major push for new serializations in 2010, such as expanded runs of ongoing series, the magazine struggled with low profitability as reader preferences increasingly favored accessible online alternatives over traditional print. prioritized independent restructuring amid the industry's digital transition. The discontinuation was formally announced on July 5, 2011, with citing evolving youth manga market dynamics and the need for consolidation to sustain viability. The final issue, a combined 21/22 edition, was released on October 5, 2011, marking the end of 26 years of publication and concluding several flagship serializations like Kizu Darake no Jinsei. In the wake of the closure, Business Jump's assets, including ongoing series and editorial resources, were absorbed into the newly launched , a biweekly formed by merging with the concurrently discontinued , which debuted on November 16, 2011, to consolidate 's seinen offerings in a digital-competitive landscape.

Content and Serializations

Serialization Structure

The serialization structure of Business Jump emphasized thematic suitable for its audience. Successful series were compiled into volumes under the Young Jump Comics imprint.

Notable Manga Series

Business Jump's early years in the featured several action-oriented series that established its reputation for mature, intense storytelling targeted at adult readers. One prominent example is , written by Masahiko Takajo and illustrated by Tetsuya Saruwatari, which ran from 1987 to 1990 and was collected into 12 volumes. The series follows a artist navigating a brutal dystopian system, blending with themes of and abilities, making it a seminal work in the violent action . Its significance lies in its influence on later and prison-break narratives, and it received adaptations including a 1989 OVA and a 1991 live-action film, expanding its reach beyond . The 1990s marked a peak for Business Jump with cyberpunk and psychological thrillers that attracted a dedicated following. Battle Angel Alita (originally titled Gunnm), created by Yukito Kishiro, was serialized from 1990 to 1995 across 9 volumes and centers on a amnesiac rediscovering her past in a post-apocalyptic world, exploring themes of identity, technology, and combat sports like Motorball. This series became a cornerstone of the genre in , inspiring adaptations such as a 1993 OVA and influencing global media like the 2019 live-action film Alita: Battle Angel. Another key title from the era is , by , which began in 1998 and ran until 2006 (with a brief ), spanning 20 volumes; it depicts a genius pitcher's psychological battles in , emphasizing and mind games over physical action, and was adapted into a 2008 series that highlighted the magazine's versatility in sports dramas. In the 2000s, as the magazine faced increasing competition, it continued to publish acclaimed adventure and mystery series that underscored its focus on intellectual depth. The Summit of the Gods (Kamigami no Itadaki), written by Baku Yumemakura and illustrated by Jiro Taniguchi, was serialized from 2000 to 2003 in 5 volumes and revolves around a photographer's quest to uncover the fate of a legendary camera from a 1924 Mount Everest expedition, intertwining real historical events with themes of obsession and human endurance in mountaineering. Renowned for its realistic artwork and narrative tension, it garnered international praise and was adapted into a 2021 anime film, affirming Business Jump's role in elevating adventure manga. These later series, like earlier hits, often featured economic or societal undertones reflective of the magazine's business-themed origins. Overall, Business Jump serialized numerous series over its 26-year history, with many achieving adaptations into , OVAs, or films that boosted the magazine's profile within the seinen demographic and contributed to the broader evolution of mature .

Circulation and Legacy

Circulation Figures

Business Jump launched with its first issue in May 1985, quickly gaining traction among its of working professionals through business-oriented sales channels. The magazine reached its peak average circulation of 416,875 copies in 2004, according to reports from the Japanese Magazine Publishers Association (JMPA), during a period of strong interest in seinen manga tailored to salarymen. Post-2000, circulation experienced consistent annual declines, dropping to 238,500 copies by 2011 amid broader shifts in the manga industry toward digital formats and changing reader habits. This contributed to the magazine's discontinuation later that year. In comparison to other Shueisha titles, Business Jump's figures were substantially lower than those of Weekly Young Jump, which exceeded 1 million copies at its peak, but higher than niche seinen publications like Ultra Jump, which hovered around 30,000 copies during the same era.

Cultural Impact and Reception

Business Jump received acclaim for pioneering the salaryman manga genre within Shueisha's lineup, establishing itself as the publisher's first dedicated anthology for business-themed stories aimed at working adult males. This focus allowed the magazine to explore corporate dynamics, ambition, and workplace challenges in ways that resonated with Japan's professional class during the late 1980s economic boom. The magazine's cultural influence extended to popularizing business manga tropes, such as the indomitable protagonist navigating cutthroat office politics, which became staples in Japanese media. These works critiqued globalization and organizational hierarchies, influencing discussions on salaryman identity and resilience. In terms of legacy, Business Jump contributed to the diversification of seinen manga by carving out a niche for professional-themed stories, moving away from more fantastical narratives prevalent in other Jump titles. Iconic series serialized in the magazine emerged as cultural touchstones, encapsulating the optimism and excesses of Japan's 1980s bubble economy while foreshadowing post-bubble disillusionment. Following its discontinuation in 2011, ongoing series transitioned to the merged Grand Jump anthology, ensuring continuity for established titles. This shift influenced modern Grand Jump publications, which continue to feature workplace dramas echoing Business Jump's foundational style. The magazine itself garnered no major industry awards, though it hosted internal recognitions for serialized works, underscoring its role in nurturing talent within the business subgenre.

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