Anime adaptation of the original work by the Villain Association.

There was a scene in the thread image, right?

…Was there?

While the current robot army is rampaging

If the world could change through violence, it would be easy, huh…

It’s way too funny when you get angry.

When the scene unfolded where our comrades were in a truly desperate situation, being torn apart by super scary guys, King-san’s entrance was simply exhilarating.

I had intended to stay hidden until things were over, but that made it even more…

I’m curious whether Garou will actively participate in this commotion or not.

It’s cute how Garou thinks “The output is insane, but I can manage with my skills!”

Now, King is treated as a kind of sacred figure, but back when no one really knew who would die, he was “taking astonishing actions” and “literally doing his best in a desperate situation without knowing what he was doing,” which made me really want to support him.

It was even more unsettling because it was a development where you really couldn’t tell who would die.

When you search for “One Punch Man,” why does the original work not show up at all?

Level demon instant kill is really strong at S rank… but it seems too easy and isn’t really interesting.

Please provide the Japanese text you would like translated.

Huh? Don’t you feel something pushing?

Please provide the Japanese text you would like me to translate.

Hey, these guys are crazy, aren’t they?

I liked how I was progressively cornered.

Back then, the internet was mocking everything from all directions.

I like the part where Saitama seems to think you’re really strong for some reason, but wonders why you’re doing such things.

Lately, there were thoughts that we might just fade away like this.

I should have been seeking an absolutely strong hero, but that’s not it!! A hero isn’t like this!!

It’s good that those who wanted to become heroes with a strong view of heroism are connecting with each other.

Of course, a guy who wanted to be a hero and became a monster through deception can’t win against a genuine passion, no matter how much he powers up.

Who is the idiot who unnecessarily brought up God and made it all so long and overwhelming?

As for Zero-Pan, the story regarding Garou’s trauma, true dreams, and motivations is completely different and has become almost a completely separate story.

Let’s stop talking about the painful reality!

What I wanted to do here, I didn’t really understand back then.

I feel like I understand it through Mob Psycho… but it’s just a feeling.

Did the Murata version start around the time of the thread image?

Wasn’t it around this time that the updates, which had been progressing at a great pace, started to slow down significantly?

It’s not just One Punch Man, but for the entire web manga.

There was a trend where web manga artists gained attention and transitioned to commercial work.

It’s great that to Saitama, Garou only looks like a guy who is always playing the role of a monster.

I have the impression that it has always been stuck in a place where it seems like it’s about to punch Garou.

I think the panel layout of the continuous regular punches while falling is incredibly amazing.

In the Murata version of Blast, it feels like there’s a strong desire to somehow break the idea that baldness is the strongest…

“Is it okay if I give it my all?”

Hitman Magic Series

It’s just too cool.

Even though Garou had a solid view of heroes, his view of villains was all over the place.

It’s really impressive how it makes you think, “Of course it’s called a monster game by Saitama.”

When they released a GIF as a production that can only be done in web serialization, I was quite amazed.

They say they’ll kill, but nobody actually does.

I think it’s also questionable that Saitama doesn’t stop getting beaten up badly.

It’s not surprising that places like Shibuya and Nico Nico, which were once playgrounds for amateurs, are becoming battlegrounds for semi-professionals.

The monster appears before Garou, who has lost his way and realizes that he can no longer become a hero, as it is just a means of escape.

An ugly kid who desperately protects me, calling himself a hero.

You told me what you are.

Garou, who loved Zombie Man’s dialogue, was expertly held back and turned into a paste.

It’s nice how we gradually understand what Garou wanted in the final part.

Considering the conclusion, it’s correct that Garou can’t make any moves against the bald guy as long as he’s making excuses.

It’s great that Garou, who has always said he wants to become a monster, is pointed out to have an ideal image of a hero.

It’s true that this guy only beats up heroes and doesn’t kill them, so it’s making me realize that he doesn’t really do anything villainous at all.

Genos, somewhat disappointed, said, “Even Garou wasn’t a match for the teacher,” which is quite one-sided.

It’s nice to see the people around here starting to realize Saitama’s strength.

I really liked the rough yet somehow well-composed art in the Garou battle.

From the perspective of an ugly kid, it’s only natural that Garou, who prioritized helping him above all other heroes, would be considered a hero.

It’s nice to see the vitality returning to Garou’s eyes as he realizes that he was doing it unconsciously.

I also like the sweetness of just raising my legs without shaking off the kid clinging to me.

I wonder if an enemy strong enough to make me struggle will appear; it’s nice to dream about, isn’t it?

Such a compromise is an insurmountable wall for Garou against me, who is seriously dedicated to my hobbies…

So it’s better to stand up with the cries of the kids.

The biggest problem with this part of the original work is that the long intervals between updates lead to a lack of catharsis from frustration.

When you read it all at once, you think… I used to find it a bit off at the time, but the buildup isn’t as long as I thought, and it’s actually really interesting…

Although Garou’s skills were defeated by Saitama’s violence, conversely, I thought that even with just one-tenth of Saitama’s physical ability, it should be possible to defeat Saitama with techniques.

I quite like that the strength seems to remain unchanged despite various things happening.

I feel like the Atomic Samurai didn’t have any notable achievements.

“The essence of Saitama is that he thinks, ‘It’s not fun doing this with you.'”

I seek battles that still ignite my passion, in line with my original intentions.

It used to be that the drawing was the only selling point, but now that it has changed to JC for production, I am only feeling anxiety.

Isn’t the Murata version updated quickly?

If it’s a manga that no one is urging on, it will end up being seen as something that just quietly got abandoned…

The victims’ association, where everyone can come together and work hard toward the same goal, has become quite a good place for Hage.

It’s tough because the aliens who want to continue reading have started making a fuss.

I have started updating it once a month.

Reading it all together, you can see the dramatic improvement in drawing skills towards the end of the Garou arc.

“Because you despaired at aiming to become a monster through compromise, that’s what makes Garou.”

It’s good that, knowing I can no longer become a hero and that violence won’t solve anything, I’m atoning for my sins.

That’s not it. To beat this guy, we need to… um… more like this…

What is this guy?

How can I defeat it?

“It was a mistake to lower the hurdle before even trying.”

“Half-hearted goals are even harder to achieve.”

The debate skills around here in Saitama are really strong.

To the kids, Garou is a hero, but the kids’ actions were also the kind of hero that the child Garou was seeking.

Around the final part of Garou, Mob Psycho was also airing, right? It really improved a lot from that point.

Against the broken-hearted Kurobikari.

It’s common knowledge that muscles also need rest.

I won’t let you say I ran away.

Your muscles are in fantastic shape right now.

It’s really genius how this manga wraps things up in just two pages… you can’t help but think that.

Garou has to properly bring despair, you know.

It felt odd that Saitama suddenly caught on to Garou’s feelings and started lecturing him.

The scene where Garou is at a loss due to Saitama’s strength, which defies all logic, is really good, isn’t it?

Scene from the thread image

It was so exciting because it was finally revealed after being pulled in every possible way and even throwing in a feint.

In the original work, Garou was criticized here for being a petty and insignificant character, right?

Saitama finally got his turn, but he was criticized for being low-energy and winning overwhelmingly, making it boring.

Therefore, the commercial version of Garou became a big shot on par with Saitama by powering up with the power of God, and Saitama also elevated the original story by getting angry after Genos was defeated and going all out.

Saying that the commercial version is boring but the original is great now lacks credibility.

I’ll become the absurdity of the world!!

The real absurdity that appears before my eyes.

From Garou’s perspective, the bald man was truly an unreasonable “monster” that suddenly appeared and confronted him with despair, which is interesting.

For such Garou, from the perspective of an ugly kid, he suddenly appears and becomes a “hero” who saves them.

I remember there were a lot of complaints when Garou was overpowering the S-Class, but after Saitama showed up, it seemed to receive good reviews.

It’s the first time I’ve been shown mercy by a monster.

First of all, the original Garou cannot walk side by side with Silver Fang.

I don’t have a face to show.

It seems like you’re not listening, but you’re actually paying attention, bald guy.

When I look back at it after a long time, I can’t stop reading this manga.

It’s the same with Ama, but the moment you easily let a character who is valuable precisely because they don’t cross the line cross it, it shows too low a resolution, Murata… that’s what I think.

Let’s just talk about the original story.

Taking advantage of being immortal, Zombie Man is treated specially poorly.

It’s really messy, isn’t it… Aren’t we still in the red?

Is it fine to move on to the Tatsumaki arc after the Monster Association arc?

The series of episodes in the original “Garou” properly resolves the causality.

In the course of the story’s conclusion, the symbol of absurdity being a bald head was rather satisfying.

I also like the simple design of the monster Garou.

Basically, bald people tend to be preachy when dealing with others.

Especially when comparing a serious hobby to just a job.

That being said, while I thought Garou was overthinking things a bit, I ended up seeing so many moments that made me wonder what he was doing, and since we were in the same hobby group, I accepted that he got excited and started speaking quickly.

The God-Slaying Fist…

It’s not so much that it’s preachy, but Saitama is originally this kind of character.

Fubuki and Tatsumaki are also being properly lectured or having my theories explained.

It’s best to just ignore the weird replies.

If everyone feels the same way, that person will get an ID, keep quiet, and it will be over.

The original Garou couldn’t truly say he atoned because he escaped, though.

Even if I say I’m working in society, it’s something that any ordinary person does, so it’s not like I’m atoning for any sins.

I like the training of finding answers within myself that King speaks of after this battle.

Because you came!!

I can’t get over the way you’re breaking things down, it feels overwhelming and I’m at a loss for words.

Since they only think of Garou as a dine-and-dash criminal, they will try to resolve it through conversation.

I really wanted to become a hero.

It was very good that Garou himself seemed to realize his true identity as his eyes were being drawn.

If we’re talking about the original story, I can only say that I want it to progress quickly instead of constantly changing scenes.

When is Genos going to invade the Borfoi household?

What I dislike the most about the Murata version is the depiction of Saitama growing through battles… That’s not what One Punch Man is about.

The reason the fight between Saitama and Garou was established up to a certain point is that…

From Saitama’s perspective, they just looked like suspicious individuals playing a monster game, so he couldn’t gauge their true intentions.

From Garou’s perspective, he was probably subconsciously holding back so as not to kill the suddenly-appearing hero.

It’s certainly not because their abilities were evenly matched.

People say it’s just constant scene changes, but isn’t that what an ensemble drama is all about?

One Punch is not interesting because it’s Dragon Ball, but rather because the essay manga-like elements are the key to its charm. However, Murata recognizes it as Dragon Ball, so he writes it as if it were Dragon Ball.

The writing is amazing, so it’s fine to draw as much Dragon Ball as you want if it’s original work, but do it with One Punch Man…

It’s a classic that when you really become a monster, you become weaker, but it’s still good, isn’t it?

I like it when someone points out that despite becoming ominous, I’m actually getting weaker.

The original work, as well as Versus and Murata, are all trying to be ensemble dramas, but they end up becoming messy.

I think people who are shouting that only the Murata version is Murata’s fault have just become simple anti-fans after going full circle.

The interesting Bug Ego has become boring now that it’s in a long format.