Kazuki Takahashi’s Yu-Gi-Oh! Bunkoban Edition Afterwords

Warning: This post contains translations of all 22 Yu-Gi-Oh! Monochrome Edition volumes’ afterwords, spanning across a hefty +10.000 words. So it’s just about the amount of text on your average modern Yu-Gi-Oh! trading card.

Hey there, folks, it’s your favorite blogger again with yet another translation! And in strong tradition, this marks the third year of a Yu-Gi-Oh!-related translation, this time from no less than the man, the myth, the legend Kazuki Takahashi himself in his afterwords dedicated to the Yu-Gi-Oh! Monochrome Edition from the late 00’s, which I so conveniently own.

This has been a hassle to deal with so you better read all of it!


Yu-Gi-Oh! Bunkoban Volume 1

Volume 01: On the occasion of this new pocket paperbook version of the manga, I have faced my collection of manuscripts that I had stored away and not seen for who knows how many years once more. Since, for me, “Yu-Gi-Oh!” as a work has already been finished, after the end of the serialization, I hadn’t really gone back and reread it, however… sure enough, I was quite perplexed at how I felt nostalgic and embarrassed by it.
Lately, I have been taking great pleasure in coloring my work by use of my computer, so I figured that at the very least, I would try to draw new covers for the pocket paperbook-serialization, however, when you compare the art that resulted from my art style back in the days, one might perceive a massive gap, so please forgive me on that front. (With that said, I am still overly fond of the art that I used when I had just started out.)
If I were to label the arcs as different chapters, I’d go with:
Chapter 01: School Arc
Chapter 02: DEATH-T Arc
Chapter 03: RPG Arc
Chapter 04: Duelist Kingdom Arc
Chapter 05: DDM Arc
Chapter 06: Battle City
The Final Chapter: Memories of the Pharaoh Arc
“Yu-Gi-Oh!” is generally perceived as a card game, however, the School arc as it’s published here contains, in several meanings, quite deep emotional attachments. In the midst of the feeling of nervosity of chasing deadlines that I just couldn’t get used to, as I was crafting the personalities and fiduciary relations of these characters as they appear in my work, the sensation of the hurdles we overcame together is something that, even now, I can still feel in the process of rereading. All of the characters that appear in “Yu-Gi-Oh!” embrace weakness that lies inside their hearts, and, just like the Millennium Puzzle that is the piece to this story, they all become a piece of the puzzle, and if just one of them is missing, the story can’t stand on its own legs anymore, that is how I envisioned this story. What’s more, just how will the hero clear up the games set up within limited space? You can feel my hard struggles of putting a lot of gadgets and ideas into logic-focused storycrafting and the attempt to continue this kind of one-shot format for forever and ever.
That my brain was poor in terms of ideas was regrettable, so at the time my intention was to just draw the best I could.
Even though “Yu-Gi-Oh!” might have finished serialization quite some time ago, as of now, the “Yu-Gi-Oh! GX” anime is airing, cards and games are being made and my assistants Akira-kun and Kageyama-kun are currently serializing their works in V-Jump.
Even now, “Yu-Gi-Oh!”‘s genes are being passed on, and it’s spreading in various shapes and forms around the world, and I want to thank all those fans supporting them.
As I am reading the manuscripts that are proof of having continued this journey alongside Yugi and the other characters, occasionally making a correction, reaching these footprints of the past one after another, I am in the process of creating this pocket paperbook-serialization.
If you would accompany me on this journey, I would be overjoyed.

– Kazuki Takahashi, Year 19 of Heisei, 18th of April

Yu-Gi-Oh! Bunkoban Volume 2

Volume 02: When I tried to integrate elements of mystique and the occult in my work, I went to Egypt on a research trip, however, upon rereading the chapter “The Man From Egypt”, I realized that I just jumped over the mysterious and things instead became quite surreal and abstruse. The character that is Shadi is shrouded in mystery and I portrayed him in such a way that you would doubt whether he was even alive, so properly getting him across to the audience might have been difficult.
At the end of the day, results are all and the chapters in which Shadi appeared made the reception plummet, including talks of a potential cancellation. For all intents and purposes, I had originally settled for “Yu-Gi-Oh!” to be the story about a Pharaoh from ancient Egypt so that was really problematic.
“I can’t just change the railroads from hereon… so that means cancellation!!”
I felt a sense of unease not unlike my own heart being thrown into a maze itself.
“Oh, well, I’ll just do the best I can.”
Pridefully fighting back is something that occasionally can move you into the right direction.
As for the chapter “The Card That Holds Fangs” that was included in the first volume of the paperbook serialization, back at the time, the questionaire of the serialized Jump volume absolutely slaughtered the editorial department and I remember it being extremely popular.
I had thought of dedicating only a two-parter chapter to the card game format, however, I figured I might actually just once more try to respond to the readers’ wishes.
At first, with Kaiba Seto being established as the successor to a game company, quite a lot of unique game ideas came to me which he would use to challenge Yugi with, that’s about the plan I had, however, all of the sudden it had turned into one more card game battle encounter. Even more, he had been reconstructed into a character fit to be the protagonist’s rival.
(As for his name, in Egyptian folklore, there appears a God names “Seto” and it’s derived from that, so maybe from that point onwards his fate of shouldering the role of the protagonist’s rival had already been set in stone.)
So quite unbelievably, many years later, an unprecedented card boom would be given rise to, and who could have predicted that at the time?
Be that as it may, at the end of the day, it might have been me, the creator, who was surprised the most of all.
And so, with the next volume, we march onwards to the DEATH-T arc.

– Kazuki Takahashi, Year 19 of Heisei, 18th of April

Yu-Gi-Oh! Bunkoban Volume 3

Volume 03: Truth to be told, the DEATH-T arc is my favorite part of the story.
Following the concept of the protagonist beating wicked villains through a series of games, ever since I had that plan of tying chapters together like that, the idea of DEATH-T being the sole climax of all of that had been lingering in my mind. Depending on the popularity or lack thereof of a serialization, you can never really tell when a series is going to end. If you make a story too grand-scale, you will end up with an unfinished conclusion.
With that kind of development, the protagonist Yugi and his friends would make it to the top, and beat Kaiba, the arch-nemesis waiting for them and so, the last page would conclude with “Our Protagonist’s Battle Has Only Begun!”… well, that’s the kind of last scene you occasionally come across in shounen manga.
I can’t help but think that I’m really glad it didn’t come to that.
With that said, the DEATH-T arc wound up being a bit shorter than originally planned for. (In truth, I had planned for DEATH-T to feature about eight different attractions.)
The theme park that Kaiba had built for facing Yugi was originally supposed to be a modern-day high-level tower! For the protagonists to reach the summit, that would have been a bit of a faster experience. Clearing hurdles meant to obstruct their path, the protagonists would then have to face the last boss waiting for them at the very top! I really love this kind of development that you’d get to witness in Jump stories from way back in the days! The higher the hurdles to climb, the more twisted the problems to solve and the stronger the enemies to beat the more emotion you would feel.
The reason the DEATH-T arc got cut short was something the editor had said.
“Hurry up and get to the card game part!”
I’m sure that, speaking in terms of the results achieved, that was for the best.
The DEATH-T arc contains a very important factor, namely the portrayal of Yugi coming to terms with his alter ego. This is the first step of Yugi and Yami Yugi coming closer to each other.
Truth to be told, it was around this time that I had the concept for the final chapters in my mind, and that, no matter which way it’d end up being the case, Yugi would have to face his other personality to achieve true independency.
In order to achieve that, to match Yami Yugi’s overwhelming presence, Yugi would have to adapt to a matching level of strength and faith in himself.
I really feel that it is from this point onwards that Yugi’s long road of this battle sets into motion.

– Kazuki Takahashi, Year 19 of Heisei, 15th of June

Yu-Gi-Oh! Bunkoban Volume 4

Volume 04: Table-top RPGs (“TRPG” from hereon).
There are a lot of people who have never heard of that term before.
Nowadays, if you bring up the term “RPG”, people will generally think of video games or online roleplay. However, the meaning of “RPG” (or “Role Playing Game”) stems from “a game wherein you assume a role” and was first coined in the early 1970s in America, finding its origin in a war simulation miniature board game. Thereafter, a new kind, the TRPG, through “Dungeons & Dragons”, was born in 1974.
I, too, a long 20 years ago when video games hadn’t taken off, had enjoyed my times with my friends, playing TRPGs.
The participants were divided into a group of players and the game master, and, through conversations, unfolded adventures inside an imaginary world.
All of the players would make preparations for their self-controlled characters as well as establish professions and ability points.
On an enclosed board, the players transform as they pave their way through dungeons and yet unexplored regions packed with monsters and the player known as the “master” holds the status of a God, bending the field to his will.
The words that the players utter are transformed into “magic”…
The dies at times become a “weapon’s force”…
And the master passes down destiny’s verdict.
Generally, I play as a “Warrior”, with much of courage invading the hiding monsters’ caves (even though all of this is told through the elaborate scenario of the master, guiding the players), fighting alongside my comrades, however, the master’s trials are not easy to clear. The master invites one into desperate situations.
In those times, you entrust your forces’ power into the dies you clutch inside your hands, releasing sweat from your body. There are even those who hold their dies ever-so-fiercely, offering a prayer.
Bet on your destiny and roll the dice.
Critical!!
You roll your greatest number and narrowly make it out of danger.
That sole moment is the most joyful you can be.
Right then and there, you can see the excitement in your friends’ faces and hear it in their voices.
If I could just replicate this kind of sensation through the RPG arc… that’s what I had intended to do and drew accordingly, however…
Lately, even though they are called “RPG”, there are net games that you play on your own, facing the screen, unable to see a face. That in its own right is fun too, but when compared to games that have you gather your friends while brimming with excitement, it kind of does seem boring.

– Kazuki Takahashi, Year 19 of Heisei, 15th of June

Yu-Gi-Oh! Bunkoban Volume 5

Volume 05: I think the first time talks of an anime adaptation came up was right after the end of the DEATH-T arc.
Until then, I had intended for the manga to continue in a one-shot format, however, I was running out of ideas, and I gave thought to trying out a larger story arc. That is why I tried to construct a story with the card game being the focus.
Regardless of whether in manga or TV screen form, I had absolute confidence that I could turn monsters popping out of cards, engaging in battles, filled with tension and overwhelming pressure, into something really interesting. What’s more, contrary to a manga, an anime can bring colored pictures to life and has voice acting and background music supporting it.
What became the basis for the “Duelist Kingdom arc” was a neighborhood association’s orienteering that I had partaken in during my grade school years.
Inside a vast park and the hills and fields, we participated in game-like outdoor sports activities, were split up into teams and the area had points established, which you would proceed to take from the starting call as fast as possible until making it to the goal – that’s the challenge we faced.
In other words, in the area that is the “Duelist Kingdom”, you make it towards the points that are the Duel Boxes, and there Yugi, Jounouchi and the various other duelists engage in card game battles, aiming to reach the goal, namely Pegasus’ castle.
With the Duelist Kingdom arc came a point of reflection, as there were too many issues with creating the rules of the card game.
Since these rules had been created for a mere two-parter story, they weren’t well-thought out at all and at this point, I feel like I own the readers an apology. Still, I would have never thought back then that we would end up selling actual cards.
Unfortunately, the first rendition of the anime ended right before making it to the “Duelist Kingdom arc”, but even if it had temporarily continued, in terms of making progress, it would just catch up with the manga’s developments and I can’t help but wonder if producing more would have been too difficult.

– Kazuki Takahashi, Year 19 of Heisei, 18th of July

Yu-Gi-Oh! Bunkoban Volume 6

Volume 06: Apart from creating the characters, I also use references for them. So for guiding purposes, I have created a three-dimensional graph for myself and I would like you to have a look at it.
[TL note: What follows is a graph, a scale and character traits on a scale. I’m not gonna give you images on that but instead verbalize all of these.]
A (Special Apendix) Graph For Breaking Down The Yu-Gi-Oh! Characters
With LV 0 at the center, the X, Y and Z axis are constructed.
Ranging from Crazy to In Self-Control.
Ranging from Narcisstic to Caring For Others.
Ranging from Greedy Or Obsessed to Desireless Or Indifferent.
With This Displayed Graph, We Will Now Look At The Established Properties For 16 Key Characters On The Following Page
Yugi Muto: Caring For Others: LV 4; In Self-Control: LV 5; Desireless Or Indifferent: LV 2
Yami Yugi: Caring For Others: LV 2; In Self-Control: LV 2; Desireless Or Indifferent: LV 1
Seto Kaiba: Narcissistic: LV 4; Crazy: LV 3; Greedy Or Obsessed: LV 4
Katsuya Jounouchi: Caring For Others: LV 4; In Self-Control: LV 1; Greedy Or Obsessed: LV 2
Anzu Mazaki: Caring For Others: LV 3; In Self-Control: LV 3; Desireless Or Indifferent: LV 3
Hiroto Honda: Caring For Others: LV 1; In Self-Control: LV 3; Desireless Or Indifferent: LV 1
Ryo Bakura: Narcissistic: LV 4; Crazy: LV 5; Desireless Or Indifferent: LV 4
Yami Bakura: Narcissistic: LV 3; Crazy: LV 4; Greedy Or Obsessed: LV 5
Pegasus J. Crawford: Narcissistic: LV 4; Crazy: LV 4; Greedy Or Obsessed: LV 4
Mai Kujaku: Caring For Others: LV 2; In Self-Control: LV 3; Greedy Or Obsessed: LV 3
Dinosaur Ryuzaki: Narcissistic: LV 3; Crazy: LV 1; Greedy Or Obsessed: LV 2
Insector Haga: Narcissistic: LV 4; Crazy: LV 3; Greedy Or Obsessed: LV 4
Keith Howard: Narcissistic: LV 2; Crazy: LV 1; Greedy Or Obsessed: LV 4
Marik: Narcissistic: LV 2; Crazy: LV 2; Greedy Or Obsessed: LV 4
Yami Marik: Narcissistic: LV 4; Crazy: LV 4; Greedy Or Obsessed: LV 4
Ishizu Ishtar: Caring For Others: LV 5; In Self-Control: LV 5; Desireless Or Indifferent: LV 4
This is no more than than a personality distribution graph that I, the creator, have thought of. Your feelings on these characters might differ, and maybe you might find it interesting breaking your feelings down too.
Looking at it like this, the bad guys that appear in my work are narcisstic, show barely any tendencies of indifference, are greedy and occasionally tend towards being crazy.
This might be surprisingly applicable to us humans too.
It is said that the whole creation, so everything that exists in this world, is created on a scale of opposing ends.
Light and darkness, the visible and the hidden, good and evil, Heaven and Earth, these, too, are integrated into the themes of “Yu-Gi-Oh!”.
No less is the pendulum inside man’s heart, pulsating forth and back as a result of various energies afflicting it, giving rise to good and evil. Much like how there is gravity, I believe living your life while in self-control is the most important thing.

– Kazuki Takahashi, Year 19 of Heisei, 18th of July

Yu-Gi-Oh! Bunkoban Volume 7

Volume 07: When the first anime was set in stone and I had finished brooding over who should be set to voice Yugi, I remember that I requested that Megumi Ogata be used for the job. I still remember that at the recording station, I was overwhelmed by the brilliance in her voicework.
The first anime put greater emphasis on the school elements of the story, and Yugi was more of a dark hero-type of a character, and the voice acting in regard to the duality of him was absolutely wonderful and exceeded my expectations.
With the next series, also due to the broadcast station, new voice actors were cast. When I first met Kazama Shunsuke-kun, my thoughts were “He sure fits regular Yugi…”.
Meek and polite, he gave off the vibes of a school uniform.
From that point on, I had a higher evaluation of the acting in dramas and such and compared to my school days, there was a difference like between Heaven and earth, that’s how much difference I saw there.
Since these were my first experiences with voice actors, at first, I couldn’t get used to this feeling, however, I understand that the more episodes went by the more things improved.
“With this work, Kazama-kun will grow alongside. Because one day, from his innermost, his hidden part will be revealed. Yugi’s other side, that is.”
After the first episode’s recording session, that’s the conversation I had while drinking with the producer.
Four years thereafter…
Inside the tatami room of a sushi place I frequented a lot, the producer had set up a TV monitor he had gone out of his way to buy and, with Kazama-kun, me and many other people sitting at the table, we were waiting for the time to come.
For Yugi’s last episode to be on air…
After finishing, I couldn’t say a word for a while.
Kazama-kun’s performance had been truly miraculous.
Refining your skills is one thing and a given but he went above and beyond that, and inside me, evidently, had become the King of Games.
As I was looking sideways, there he was, Kazama-kun, eating his chirashi sushi.

– Kazuki Takahashi, Year 19 of Heisei, 10th of August

Yu-Gi-Oh! Bunkoban Volume 8

Volume 08: Truth to be told, there was a secret Yu-Gi-Oh! movie in the works. After the anime had finished and Yu-Gi-Oh! GX, which came to be the successor with its characters and settings, had aired for about a year, talks about a Yu-Gi-Oh! movie came up.
“This might be really interesting!” is what I thought and had even prepared the following title:
“Yu-Gi-Oh! vs. GX!!”
It was ages ago that the movie “Mazinger Z versus Devilman” became a thing and I got so hyped about it that I even went to see it (this does feel very telling about my age…) but when all was said and done, I was so angry that they didn’t actually get to fight each other, these were days from my childhood that I have a lot of nostalgia for and ever since then, I can’t help but wonder why it is that with this kind of title, my heart is set aflutter.
The story goes roughly like this:
The students of Duel Academy come to visit Domino City, the showplace of those legendary duelists. Among them is a particularly discerning one genius duelist, waiting for an opportunity to defeat Yugi and his friends. It was the mysterious master of tarot cards, Saiou Takuma.
Strange things happen and Yugi, Jounouchi and Judai’s group encounter each other. They make direct contact with Kaiba Corporation and Saiou’s mysterious plan is set in motion.
“”Domino City becomes the stage for a new duel!” That’s the grand unfolding of events?” – that’s about it then.
The problem is, I was brooding over whether or not to revive Atem and at the end of the day, since doing so would violate the theme of the original work, I settled on him not making an appearance then.
At the end of the day, these plans were then discarded but facing Yugi and his friends again inside my head after all this time was a lot of fun.
Yugi and Judai?
As fellow heroes, of course they don’t get to fight each other! In the movie, that is!

– Kazuki Takahashi, Year 19 of Heisei, 10th of August

Yu-Gi-Oh! Bunkoban Volume 9

Volume 09: It was in the Summer of 2007 that I made my way to the Yu-Gi-Oh! World Championship Tournament, held at the Comic Convention venue in America, San Diego. When I saw these duelists had won the premilaries in their own countries from all across the globe, I saw a widening scale within the Yu-Gi-Oh! franchise that I couldn’t have witnessed in Japan and quite frankly, it startled me.
The Comic Con on its own is already quite a huge event, and I bought a lot of beloved American comics, figures and cartoon goods and enjoyed myself to my heart’s content. (If possible, I would have loved to stay for three more days.)
Thereafter, I also visited Las Vegas but I couldn’t help but think about how it’s the birth place of Pegasus J. Crawford.
Pegasus was born to a wealthy father who owned a casino hotel and there were no limits to his life, however, when the woman he married, Cindy, died, his heart was engulfed in darkness and controlled by it.
There are times when pure love leads to madness and the sole friend in his heart, Funny Rabbit, turned into a symbol for immortality.
Being even a gifted painter, he travelled to Egypt and soon gave birth to the Magic & Wizards card game and that is how he was led on a tragic journey of darkness through the millennium items.
In the source material, Pegasus dies at the hands of Bakura and he no longer makes an appearance afterwards. I am sure that the mist that is the madness inside his heart has cleared up, he has repented for his sins and is reunited with his beloved Cindy in Heaven – that’s what I believe in.
There is an urban legends as follows. A certain game company has managed to revive Pegasus and somewhere inside a hidden underground factory he creates cards day-in, day-out. He is Commerce Pegasus Number 02, and for the sake of duelists around the world, he continues to make cards!

– Kazuki Takahashi, Year 19 of Heisei, 14th of September

Yu-Gi-Oh! Bunkoban Volume 10

Volume 10: ♂ ⧬
“Why are all the father figures of the characters in Yu-Gi-Oh! so rotten?” is a question I sometimes get asked by the fans, and it’s true that Otogi’s father, who appears in this volume, passed mere inhumanity and becomes downright ludicrous.
Jounouchi’s father, too, is addicted to gambling and a violent drinker and Kaiba Seto’s stepfather was a tyrant, beating him with a whip in the name of elite education fit to raise a king. I’m sure there are others too…
It’s almost like a gallery of rotten fathers.
Yet I am the one who thought of this way to establish this work… (*starts to sweat*)
As for the symbols at the start, ♂ reflects the male gender and ⧬ the female gender. I am sure you are all aware of this.
♂ displays a man armed with a spear, ready to head into battle, whereas ⧬ is a stand-in for a woman offering a prayer while holding up a cross to her chest.
For his country and family and to make sure he gets to live on, the man (father) who goes into battle and on a hunt is reflected in the ♂ and the woman (mother) who prays for his safe return is reflected in the ⧬.
And so, all the sons in this manga are represented through their opposing stances towards their fathers.
Otogi’s father is someone who passes that spear on.
Jounouchi’s father is someone who doesn’t hold that spear.
Seto’s stepfather is someone who wields the spear at other people.
Hanasaki’s father is someone who discarded the spear.
Marik’s father is someone who uses the spear to stab others.
Just as there is nobody in this world who is “complete”, their fathers even moreso, are just human too. There is reason to assume that they, too, in the midst of struggling to survive in this world, might have lost a piece of their heart and were just worn-down warriors.
So when these fathers hand down mercilessly even their genes of “loss” to their sons, it is unavoidable that these sons will shoulder the fate of opposing said “loss”.
A “child” is a being that, while smashing his own innocent heart, comes to face reality, establishes his own “self” and sooner or later, comes to wield the spear as a warrior and turns into an “arc” manifested in society.
Inside myself is that theme of an absolute shounen manga as well, of surpassing your father, and overcoming the fight and trial to find your own “self”.
There are those who try to overcome these trials with only their “self”, those who overcome them thanks to their friends and those who fail them.
With Yugi, the protagonist, the idea was to portray his battle to gain his own “self” from a different perspective, and that is why I purposely never let his father appear.
For the time being, the background story was for him not to be at home due to a job transfer, but truth to be told, I did have the idea of his father being a game master, posing various challenges to Yugi on a certain island for him to overcome. However, that would have to happen after the parting with his other self for it to have any meaning at all, so that story was discarded… However, I wonder if having his mother appear was limited to only Yugi?
Horakthy, who appears near the end, was my very personal portrayal of a symbolization of a ⧬ / mother figure.

– Kazuki Takahashi, Year 19 of Heisei, 14th of September

Yu-Gi-Oh! Bunkoban Volume 11

Volume 11: About the monster designs:
Throughout my work, to degrees I can’t quite grasp myself, I have produced countless of monster designs. There was also plans of the second anime reaching a climax, and when I think of the quite long Battle City arc, which focuses on the card battles, I realized that there would also be a lot more duelists than during the Duelist Kingdom arc and steeled my resolve to design a ton of monsters that would come along with them.
The stage is Domino City. Almost like there were fights all over the city, the second generation Duel Disk was applied everywhere and through the advancement in high tech that is the Solid Vision System, monsters were materialized in even bigger sizes.
As far as the image in my mind went, there were giant kaijus, wrecking havoc everywhere inside the city. A world not unlike in the dreams of my childhood, with Ultraman and other tokusatsu heroes around. Actually, it was my dream to become a kaiju designer, so in a way or two, that dream became reality.
The monsters from the duelists that participated in Battle City (apart from those monsters that had previously appeared in the Duelist Kingdom arc) were very much designed when they first put their cards on the terminal. That way, I could channel the emotions and pressure the duelists were facing into their monsters. At the rough draft stage of the manuscripts, I would spontaneously design the monsters and until the cards themselves were used, I would also wonder what kind of monster I would end up with.
Still, that didn’t always turn out so well, so I had to redo the draft over and over again.
As for the Black Magician’s student that appeared in this volume, in the rough sketch, she was more of the lady type inspired by American comics (there are witches of all kinds) but I didn’t like that and when I made a bold move and turned her into a young woman, I figured that that was something I could proceed with really well and that is how the Black Magician Girl was born.
Designing monsters is troublesome, but it is also really fun.

– Kazuki Takahashi, Year 19 of Heisei, 18th of October

Yu-Gi-Oh! Bunkoban Volume 12

Volume 12: This is a bit out of order compared to the content of the actual volume but I’d like to elaborate on the chapter where Seto and Mokuba were adopted by Gozaburou when they were still children.
Seto and Mokuba, the two who had lost their parents at a young age. Betrayed by the adults they knew, they were sent to an orphanage, Seto at the age of 10, Mokuba at the age of five. It was one day that the head of the Kaiba Corporation, Gozaburou, was invited to visit the orphanage. Seto, in an attempt to flee from their life in the orphanage with his younger brother Mokuba, set up a game of chess with the victory condition of the two of them being adopted into the Kaiba household, however, their opponent was a chess grandmaster who had continuously won several chess world championships. What’s more, with his corporation occupying a space in the defense contracter industry, even there, he had made it to the very top – that is just the kind of tactical genius we are talking about here.
The likelihood of Seto, at the mere age of 10, winning against Gozaburou was very close to 0 per cent.
So, how did he pull off that win then?
It’s not portrayed in the manga but I want to explain Seto’s way of cheating.
As a matter of fact, with his first move already, the moment he moved his first pawn, he had already won the gamble.
However, that required for certain conditions in the match with Gozaburou to be met. That condition was “I want you to play a game of chess against the two of us at the same time. Also, if just one of us manages to win or draw, you will adopt us into the Kaiba household.” – so in other words, he set up a two versus one game.
For Gozaburou, who was the ruler of chess, to walk past this challenge from two children was unlikely, so he accepted these conditions.
Unknowingly that his sense of pride lead to a blind spot.
Gozaburou had two tables set up opposing him at opposite ends with him in the center, playing against both of them. At Seto’s table, Gozaburou moved his pawn, making the first move. Next in turn was Mokuba’s table, with Mokuba making his first move. That is when Mokuba copied the exact same move that Gozaburou had made at Seto’s table. It was at this moment that Gozaburou had already walked straight into their trap.
All that was left was waiting for Gozaburou to make his second move against Mokuba.
For Seto, it was enough to replicate that move. Gozaburou was now facing his own self in chess, with Seto’s chances for victory being guaranteed.
Furthermore, Gozaburou’s shallow thinking of children in general made him overconfident from the get-go, so when he saw Seto who had opposed him calmly and set up this cheating scheme, he might have seen a glimpse in him becoming his own successor.
The young Seto had no way of knowing that when he moved his first piece on that little chessboard, he was about to set his own fate into motion.

– Kazuki Takahashi, Year 19 of Heisei, 18th of October

Yu-Gi-Oh! Bunkoban Volume 13

Volume 13: When drawing the duel scenes, what I put my heart into the most is the question of how to portray and enact them the most dramatically.
The back and forth in players challenging each other during the monster battles. The ways to best express the magic cards’ effects. How trap cards affect and reverse offensive and defensive positions of monsters and such. I create an image in my mind and then finally draw frame by frame.
Much like in pro wrestling, it first starts with chop battles, and gradually, you can see actual techniques connecting, and once the end phase comes, so does victory by a reversal through a secret killer technique. I just love it when battles and drama build up like that.
You can understand as much when playing a real card game, that’s just how things become all the more fiery as the game goes on.
When it comes to the manga, the monsters explode and the players get blown away, it’s quite a big ordeal. The way you end up drawing also becomes much more hot-blooded.
When it comes to distributing the panels, you have to balance things out when expressing the characters’ psychological states of mind. In quiet moments, you distribute panels vertically and horizontally, when characters are chased by danger, panel distribution becomes frantic.
Card-drawing scenes I constructed in such a way that on a two-page spread, the panel would be in the bottom-left corner so the readers would get to see which card was drawn by turning the page.
That way, I wanted for readers to get a sense of presence, feeling like they obtained the card themselves just by reading along.
I think what dueling boils down for to me is the clashing of characters’ emotions and psychological states, expressed through monster battles. That’s why I keep the rules as simple as possible. This is why I didn’t resort to the Official Card Game during serialization. With the OCG, there is the obligation to expand upon strategies and that is also why the textual card effect explanations are getting more and more complicated, however, with something like a manga, that is just not doable, and therefore can’t be drawn.
Nearby to my workplace I own a storehouse, with mountains of cardboard boxes being stored there, containing Yu-Gi-Oh!-related goods and cards from ever since the series has started being serialized, however, I muse that at long last, it might be time to open them and try playing the OCG after all this time.

– Kazuki Takahashi, Year 19 of Heisei, 16th of November

Yu-Gi-Oh! Bunkoban Volume 14

Volume 14: It has already been a good 10 years or so but when Yu-Gi-Oh! as a project had been set into motion, I went to visit Egypt. My intention was to research material for a battle manga wherein the characters would not beat each other up and find out about some games, and the reason I visited was that I understood that Ancient Egypt was the source of that. Buried in the tomb of that famous boy Pharaoh, Tutankhamun, was a board game called “Senet”, a story that speaks testament that games have been played ever since the times of ancient Egypt.
Tutankhamun’s father, Akhenaten, was the Pharaoh that happened to be the world’s oldest to have caused a religious revolution. Up until then, there were many Gods, to which the God Aten would become the sole main God, so it was declared. His revolution included for Aten to be referred to as the one who gives people evenly the sun, the disbanding of the military, the absolute enforcement of the abolition of the hieratic system, as well as tackled religious practices and the arts.
This is known as “Atenism”.
With all that said, at the end, the revolution resulted in failure, a return to worshipping not one but many Gods was due and after his death, Akhenaten’s name was erased from the inscription of the list of Pharaohs.
Had the revolution succeeded and carried on, Tutankhamun’s name might have been different too.
Moving on in time, if you look at today’s world, faith, religion, race, as well as due to territorial rights and various other reasons, among countries in mutual relationships, there are still wars or ethnic disputes.
It is not rare that the Gods who are supposed to save people’s hearts have ignited the flames of war.
What I have depicted in the Battle City arc is the arrivel of the three God cards.
Obelisk, Osiris and Ra.
I have created these three Illusionary Gods with the baselines of “The Giant God of The Occident”, “The Dragon God of The Orient” and “The Sun God of The Middle East”.
As for Domino City being the stage for this battle, I incorporated it as a microcosm for the tragedy that befalls this world.
With there being no boundary between Good and Evil, with our hearts being constructed of Gods and greed and co-existence, we, as humans, hold darkness inside our hearts, and foolishness that can only perceive the truth by fighting.
In the last story arc, the other Yugi bundles the three God cards, bringing forth the God of all creation, and destroys the God of evil.
It is at that point when the other Yugi’s name becomes clear – the name of him who once ruled as Pharaoh in ancient Egypt, that is the wish I attached to that.

– Kazuki Takahashi, Year 19 of Heisei, 16th of November

Yu-Gi-Oh! Bunkoban Volume 15

Volume 15: When I had bought my sought after desktop computer and set it up in my atelier, in which I operate alone, by chance, the Yu-Gi-Oh! bunkoban edition came to be, so I figured I might as well use this timing and paint the cover by use of CG. 
Up until then, PC use at my work place had been solely delegated to my staff and I had instead exclusively worked analogue. 
Since the coloring of the manuscript had been done by only using copic markers and water colors, this time, I tried to paint using more flavorful colors, with my use of CG being a new challenge to face. 
So I put on my computer and started working on the art with tools I had not used before. Things did not proceed well and I had to redo the process over and over until suddenly, a weird sound came out, going all “bzzzzzzt” and my screen was stuck and the machine froze. The data was gone too. 
So I let it forcefully shut down and restart and then, once again, “bzzzzzzt”. The machine had frozen again. When I was done with repeating this process and had pressed the on button again, it immediately went “bzzzzzzt”. Instant freezing!! 
“What’s wrong with this PC? It’s not defective, is it?! I had finally mustered up the motivation to create something and now that’s all gone!” 
I couldn’t reach the repair man for about three hours and once I finally managed to get my request of repair through, hung up the phone and looked at my computer… it had suddenly become fully operational again!! 
I could draw too! It was fixed! 
After cancelling my repair request and once again getting to business… “bzzzzzzt” it was. A sudden freeze. 
“You’re definitely mocking me here…” 
So I went to a nearby specialist store, carrying the heavy-as-shit computer and when I had the store clerk have a look at it… what the hell! It had fixed itself again! 
“Sir, there is nothing in particular that is wrong with it.” 
But there’s no way that… but… still… alright… 
So I went back to my atelier. As I was about to put it on my desk and restart it… “bzzzzzzt”. Frozen. 
“Maybe the one who is just not suited for CG… is me.” 
Restart! Frozen! Restart! Frozen! 
“This PC…!!” *screeching* 
When I kicked my computer, I sprained my big toe, and for three weeks, had to visit an osteopatic clinic. 
I’m not sure what I was sometimes thinking but there were times when I tried to dump my computer into the bathtub. 
Once I had completely dried my computer and reactivated it – would you look at that! Now it was back to booting up normally again! However, after just a bit of doing my work, “bzzzzzzt” – and frozen! 
I had previously heard about stories of flushing your computer but as you’d expect, that was no good either! 
My notebook that I had owned since way before. It had spent some time being repaired but regardless, when it comes to drawing, I faced no hurdles. 
Not to mention it’s so light, I can easily bring it with me anywhere, which is really convenient! 
The artwork for the cover of this volume was drawn while I was gazing at the sea from Ishigaki Island. 
As for the other computer, it remains in cold sleep. 

– Kazuki Takahashi, Year 19 of Heisei, 13th of December

Yu-Gi-Oh! Bunkoban Volume 16

Volume 16: Having given it my all in making it through an excessively harsh serialization period of seven years, in honor and gratulation of the Yu-Gi-Oh! serialization conclusion, a memorial party was held by everyone and I was just flat-out tired. From the editorial of V-JUMP came talks of a planning of a manga sequel series (although, by that point, I was so completely worn out I didn’t even want to entertain the thought…) and for the time being, I gave the OK on my assistant, Akira-kun, being in charge of the art.
The first proposal was to star Yu-Gi-Oh!’s character in a gag-like manga deformed in a three-head-sizes SD style, but as to not destroy the image of the Yu-Gi-Oh! franchise, we instead decided on telling a story outside of the main scenario.
It’s been one year since its serialization has finished and now that I’ve come to notice it, it’s been about four years already since the inception of Yu-Gi-Oh! R. As for R, while it does have my name imprinted on it as a supervisor, really, most of it is Akira-kun’s work.
Serializing a story that has already been concluded in a new form must have been quite harsh and I believe that surely, a lot of pressure must have weighed on him, so for all the good work he’s done, I’m really grateful.
A year later, in the same V-JUMP, my assistant Kageyama-kun came to serialize Yu-Gi-Oh! GX.
With Yu-Gi-Oh! GX, right after the conclusion of the serialization of Yu-Gi-Oh!, from the production side of things, I was asked about my thoughts on a sequel story as an anime (although, by that point, I was so completely worn out I didn’t even want to entertain the thought…) and only a year thereafter, an OK was given. I did everything from the setting to the main characters. And I have now come to notice that since its debut episode, it has been four years already.
I’m having Kageyama-kun draw without taking the anime into consideration, just doing as he wants. And even though my name is imprinted on GX as a supervisor, I leave it to him and he is in charge of most of it after all, with it being his work. I’m really grateful for him doing his best. The same, of course, also applies to the anime.
With this re-serialization of it as a bunkoban, I am reading through my initial manuscripts and seeing Yu-Gi-Oh!, which has taken on so many shapes and forms by now, in its original state again, much as if I had returned to its beginnings, and that sure is a mysterious feeling.

– Kazuki Takahashi, Year 19 Of Heisei, 13th of December

Yu-Gi-Oh! Bunkoban Volume 17

Volume 17: A question that I am guaranteed to get asked when interviewed overseas is “What was the prompt that caused you to draw Yu-Gi-Oh!?”. And that sure is a troubling question.
The response I usually give involves putting on a lot of air and saying “I wanted to work with a new perspective on games as a concept and write a battle story that had been unseen before and blah blah blah…” or something of the likes, but truth to be told, I myself don’t really know. It might have been “I just suddenly had the thought…”, or “I just wanted to draw the character Yugi.”… well, that also is part of it.
However, when I try to reflect upon the past, there certainly was an event that was the trigger for it all. It might not amount to much but even now, it is still engrained in my memory, an event from days long gone by. That is to say, it happened in my first year of being in grade school.
I loved playing with building blocks, oftentimes all on my own. I didn’t really have a lot of blocks however and so I would often destroy what I had previously erected, beginning with the building process from anew. I would do this over and over again. Around my neighborhood, there was this toy store and its window front had been decorated with a giant block-built house, a sight I visited rather frequently. No matter how much I tried to build after that block house with my own blocks, I would only be able to rebuild the front of the house, with the interior entirely missing so my house was little more than a flat surface.
In my neighborhood lived A-kun, whom I was friends with and came to play over and he had a big brother who was about to enter fourth grade who had bought a cutting edge, newly released building block rocket and asked if I wanted to build it up with him together.
All the individual parts of the space rocket were building blocks that I previously hadn’t seen. On the round-shaped package of the rocket was an illustration that surpassed even the elated feeling you always get in excitement before the process of building begins. All of the blocks I had were angular and these blocks’ parts were round and to me, who didn’t want to lose to these curves, that came as an eye-opening revelation.
Amid these parts, one shone brilliantly, a small, see-through block part. To me, who was stuck in the world of primary colors, that was a diamond.
That part, which was rounded and a mere centrimetre in size, was a small block that would be put on the tip of the rocket.
And so A-kun and I built the rocket.
After an hour of exchanging comments like “That part must go there!” and “Where does that go?”, we were finally done and had completed our rocket.
“Hmmm, so you’re finally done with it!”
A-kun’s big brother had finally made his way around and expressed his feelings but then, the moment thereafter, shouted with the loudest voice:
“Wait! That’s not true! The see-through part that goes at the tip of the rocket is missing!”
A-kun, too, was startled and frantically started looking all over the place.
“You two! Start looking! If we don’t find it, the rocket can’t be finished!” and A-kun, while his big brother was fixating his gaze on us, started looking desperately with a face that looked like he was about to cry.
As for me, I was startled by how enraged his big brother was and my entire body had gone into a frozen state of shock. But there was another reason I couldn’t move my body…
It was because I was holding the see-through block in my left hand.
“A-kun already has so many other blocks and this is just a single one and it’s so small anyway, it’s not even a centrimetre big, after all!” – that’s the thought that was going through my mind.
The big brother, furious, his head having taken a red shade. A-kun, ready to cry.
And then there was me, who, if I were hardpressed, couldn’t tell you what kind of face I was making, fleeing through an external corridor to the outside.
On the way back to my house, I kept the block in my left hand, pressing it hard. … I was also crying like I had gone mad.
I never met A-kun ever again thereafter.
I felt that in that moment, I lost a very important part of my heart.
In the first chapter of Yu-Gi-Oh!, Jounouchi, who took a piece of Yugi’s puzzle, at last musters up the courage to face Yugi and return the puzzle piece to him, that’s the story I wrote.
Even now, I think I am still holding that piece in my left hand… and that sure has given me reason to think.

– Kazuki Takahashi, Year 20 of Heisei, 18th of January

Yu-Gi-Oh! Bunkoban Volume 18

Volume 18: Yugi. Kaiba. Jounouchi.
I believe that in the Battle City arc, all of these characters turned out to be winners.
Yugi is the winner who conquered the tournament.
Kaiba is the winner who mustered up the courage to walk forward in surpassing the trauma of Gozaburou Kaiba, who had nested in his heart, and in realizing his dreams.
Jounouchi is the winner who paved his way to find the meaning of a true duelist and awaken in independent battles.
In the Duelist Kingdom arc, Jounouchi _did_ achieve growth, however, the big reason in him achieving progress was solely to be found in Yugi and his friends.
A relationship in which the parts in which he was lacking as well as his weakness recognize each other and to depend on one another is nothing more than what Kaiba called a “make-believe friendship play”.
Recognizing each other, with each of them achieving their independence, if that’s when friendship is first established, chasing the true duelist in Battle City, with Jounouchi and Yami Yugi facing off at the end, the dueling scene, that moment might be in a way when their friendship was truly established.
Truth to be told, when it comes to the last chapter of Yu-Gi-Oh!, there was also a different version.
After the last cut at which regular Yugi walks away, the Battle City duel between Jounouchi and Yami Yugi comes to a close, that was another version of the ending.
While inside myself, there exists a broad structure of how the duel between Yami Yugi and Jounouchi proceeded and also which of the two of them won, that is a story purposely not told.
In that battle, a relentless mix of offense and defense, with neither players giving in an inch, unfolds and on his last turn, Yami Yugi summons Red-Eyes Black Dragon in offense position.
That is when Jounouchi reveals his Time Magician as a last effort gamble, however, when the time magic employs on their field, the scenery of Yami Yugi and Jounouchi changes, surpassing the duel, becoming radiant. And that is how the story ends. The last panel is an upper portrayal of Yami Yugi faintly smiling.
However, Yu-Gi-Oh! was the story of a young man named “Yugi Muto” and the other self resting in his heart, so I’m glad I went for the current ending.

– Kazuki Takahashi, Year 20 of Heisei, 18th of January

Yu-Gi-Oh! Bunkoban Volume 19

Volume 19: As to give the “Pharaoh’s Memory arc” a completely different perspective from the games and card battles I had drawn previously, I was facing some rather big troubles.
I felt that I had thoroughly exhausted all of what was doable within the card battles of the Battle City arc, so I wondered if I should extend the monsters I had drawn on the cards, going back in time to ancient Egypt, depicting the monsters sealed away on stone tablets and their battles, and for that I wanted to create a new vibe.
What’s more, this was Yami Yugi’s story as a Pharaoh from ancient Egypt. The mystery behind the millennium items. The wielders of the millennium items, including Priest Seto, and their various relationships. I figured that if I didn’t draw the story the fans were most interested in, I wouldn’t be able to bring my work to a closure.
Truth to be told, I was also prepared for fans of the card battles to not accept this turn of events. While I was drawing the Memories arc, the key visual that I had in my mind was a Pharaoh buried in the sand, that being Yami Yugi’s remains.
I had decided for the first panel of the Memories arc to be the unsightly figure of the Pharaoh, however, for a protagonist who had been brimming with energy up to that point in the story to appear in such a wretched state would have been far too dark, so with that said, in best shounen manga fashion, I drew a young Sugoroku instead.
All in all, the Memories arc is a dark tale, however, I still think that the last scene, compared with the Pharaoh’s state, whose life had been wittled away in his battle against Zorc, might hold some interesting appeal.
To be honest, I also had my thoughts on drawing history as it happened, but at the end of the day, if regular Yugi, Jounouchi and the others were to not appear in the story, that wouldn’t do it any good, so a world that differed from how it historically happened became the setting of “A new world of memories, stemming from a Pharaoh who had been reborn anew after Mutou Yugi had completed the Millennium Puzzle, whom he shared bonds with.”
The key to defeating the sinister soul of Zorc, who was trying to melt together with the _evil_ inside the millennium puzzle, was fusing the soul of the Pharaoh who had lost his memories with the _good_ that lay inside the memories of the present’s friends he had made.
Supposing that the one who completed the Millennium Puzzle hadn’t been Yugi, whose strength lies in his earnestness, that person would have right there been conquered by the darkness, and become, just like Bakura, a pawn to gathering the seven millennium items to unleash Zorc.
The only one who could have set free the imprisoned soul of the Pharaoh who had lost his memories was Mutou Yugi.

– Kazuki Takahashi, Year 20 of Heisei, 15th of February

Yu-Gi-Oh! Bunkoban Volume 20

Volume 20: My unhealthy everyday life led to me throwing up 200 cc of blood and collapsing in the midst of serialization so at midnight, an ambulance rushed over and brought me to the hospital.
If I remember correctly, that was around the time I was drawing the Pharaoh leading his priests into the fight against Bakura in the village of Kul-Elna. The stress caused me to suffer from a stomach ulcer.
The doctor back then told me that at the time, I was lacking a third of the amount of blood a regular human being was supposed to have and not only should I have been very hazy but also unable to even stand. And now that I was told I realized it was true, I did feel rather hazy during the process of drawing.
It was thanks to everyone visiting me at the hospital and buying me yakitori liver that I secretly hid and ate at the hospital in my room at midnight that I made a speedy recovery after only three nights and was able to be discharged.
However, when the ambulance had rushed me into the hospital, I realized that I might end up dying. The Pharaoh’s Memory arc had reached a rather grand scale in my mind, however, due to my hospital stay, I began to have second thoughts on whether I would truly be able to completely finish the story I had envisioned and grew worried that I might die before I could complete my manga and the prospect of that felt very troublesome to me, not to mention the popularity of my work had dropped considerably compared to the card battle segments so my editor had approached me, giving me another half a year for the serialization, telling me to put a closure to the manga in due time.
The story arc that was cut from my manga was the part about Kisara and Priest Seto and even now, I still have a lingering regret about that. As the readers would suspect, not only was it the story of the connection between modern-day Seto Kaiba and his Blue-Eyes White Dragon, it was also a very important part of the story.
Aknadid, who was controlled by the evil intelligence inside the Millennium Eye fueling his greed and hatred, intends to torture Kisara to extract the Blue-Eyes White Dragon from within her, however, Priest Seto betrays his loyalty to the Pharaoh, rescuing Kisara. This is where a fierce battle between Priest Seto and Aknadin erupts and ultimately, the madness consumes Aknadin, and he ends up forming a contract with the darkness to revive Zorc. And so the Pharaoh and his priests head out to battle against Zorc Necrophades and his army of the dead, as well as Priest Seto trying to carry out the revenge of the Blue-Eyes White Dragon and a three-way battle unfolds… or was supposed to, anyway… I had no choice but to abbreviate this subplot drastically.
However, at the time of the serialization, I was lacking in terms of blood and just how spaced out I really was becomes very evident when looking at Zorc’s design! The one who had actually gone crazy turned out to be me!… just kidding.
I have more or less made my revisions in regard to the design in the bunkobans, so please take a look!
I think next I’ll talk about the new Yu-Gi-Oh! anime series.

– Kazuki Takahashi, Year 20 of Heisei, 15th of February

Yu-Gi-Oh! Bunkoban Volume 21

Volume 21: Starting in April will be a new year anime with the title “Yu-Gi-Oh! 5D’s”. This has been featured in magazines’ articles already, so I believe there are a lot of people aware of it already. When I was approached one day the year before last about talks of a new series from sponsors and producers, I remember being very shocked, “What, they’re making yet another one?!”. Because I myself had already settled for GX being the last, truth to be told, that caused me quite the headache. Be that as it may, the production staff and members of the TV station and many others and I go way back and we have already become good drinking buddies, so the property that is “Yu-Gi-Oh!” is no longer mine alone but an entity that has become a media mix spread around the world through the efforts of a great many people. Bound to the condition that this would be the last one, we began with planning a new series.
Since, as one would expect, this one was going to be focused on card battles once more, I pondered if it wouldn’t be better to have a visual that would be unlike anything else, and as a result, established a Domino City set in the near future as the setting, and we introduced the D-Wheel, a new, cutting-edge technology as the new Duel Disk that was envisioned.
I believe this to be different from the duels of the previous series, with visuals that ooze the sense of speed and an entire new feeling of strategems added to the animation. I am convinced that we are already surpassing the boundaries of mere card games and that’s the resolution I’m steeled with, however, if we were to just repeat what has already been done before, I believe there would be no meaning in creating something new.
I want to transport my very own worldview, which is why I was tasked with the designs for the main characters and the D-Wheel. The story writing I leave to the script writers, so even I myself don’t know which way the story will progress and can look forward to it every week anew. I believe that this will be a work that will make many people be just as excited and right now, I am rather stoked for it.
By all means, please watch it!

– Kazuki Takahashi, Year 20 of Heisei, 18th of March

Yu-Gi-Oh! Bunkoban Volume 22

Volume 22: Since the beginning of the serialization, it has already been 12 years and we are now publishing 22 bunkobans, and truth to be told, I feel both relieved at that and at the same time a bit lonely.
While this has become a work that is spreading all around the world, to me, Yu-Gi-Oh! is, including Yugi as I drew him in the manga, a collection of all these different characters, they are what Yu-Gi-Oh! is about in my opinion. Now, as I am closing my book, I just want to tell them “You’ve done great!”.
Drawing these cover illustrations on a weekly basis has been fun. It’s my intention to once anew draw like I am breathing life into this again.
And, more than anything, to all those fans of you, who are accompanying this work from a man who is wrestling with the limits of his creative force and is in many ways inadequate, until the very end, I thank you from the bottom of my heart!
I myself have still many things I want to do, and while I can’t tell if that will be through manga or illustration work, the point I am making is that I intend to draw for the rest of my life (or rather, that’s all I can do!), so while I am hoping that the day will come when we can meet again, I intend to dedicate all my passion towards that.
And lastly, while I am at it, all my thanks go out to Gendai Shoin’s Yoshida-san, who poured all his energy into the editing process for the bunkoban, Abe-san with whom the designing was entrusted and all of Banana Group Studio and CoZ0-san for devoting his very soul to the weekly tarot card explanation segments.

– Kazuki Takahashi, Year 20 of Heisei, 18th of March


Well, that was it then! And so, at long last, you’ve made it to the very end. If you’ve actually lasted through all of it, you truly have my admiration! You might be no King of Games but a King of Afterwords no doubt! *clapping noises*

Feel also free to check out my other Yu-Gi-Oh! translations, namely:

Are you daring enough to read even more? Well, then check this review out:

I think you’ll be quite occupied for the evening or whatever time of the day it is for you now!

And as always, that one phrase gets to be put to the end or else we can’t finish this article properly: Duel Standby!

1 thought on “Kazuki Takahashi’s Yu-Gi-Oh! Bunkoban Edition Afterwords

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s