It gives the book a larger sense of direction and makes the world feel cohesive and deep, while still letting Saitama's blank-faced comedy work as a contrast to the superhero epic going on around him. That kind of structure also allows them to dole out information on what's going on behind the scenes, complete with questions about where all of these monsters are coming from and why they seem so hellbent on destroying Saitama's hometown.
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With that in place, ONE and Murata can tell stories of an entire world full of heroes, all organized towards a single purpose, most of whom are at least as goofy as Saitama. Thus the Hero Association and its official registry of heroes. Since he needs a constant stream of monsters to punch holes through, he needs to live in a world where unstoppable giant monsters are a pretty regular occurrence, and if there are giant monsters constantly attacking cities, then Saitama probably shouldn't be the only one dealing with the problem, right? Especially if he's only mildly interested in actually saving people, and tends to only do so when he's on his way to do something else. It's all built on giving Saitama bigger and bigger things to punch. That said, while it's not harder to look cooler than a bored-looking bald dude in beige coveralls and a white cape, Genos's cool robot body and intense attacks only make him a better foil for One Punch Man's comedy. When he created Genos, ONE intentionally set out to make a character who looked a lot cooler than Saitama, and as he mentioned in an interview, Murata's art has widened that gap between the two main characters considerably. The contrast even shows up in their designs. And if that wasn't enough to underscore their differences, the reveal of how Saitama got his powers means that there's nothing that Genos could possibly learn from him-even though he still has his habit of writing down every piece of Saitama's "wisdom" in a notebook. Even though he serves as the straight man for most of the book's comedy, he's the one with the super-serious motivation and backstory involving a dead family and a transformation into a cyborg to fight for justice. You can still check out the whole thing online-assuming, of course, that you can read Japanese.Īlong those same lines, their function as characters is the reverse of the usual setup, too. As you might expect from his claims of being "not that great," ONE's art is a completely different style from Murata's detailed, highly polished work, but the character designs, ideas, and sense of humor that make One Punch Man a hit are already there. If you're familiar with that version, then going back to the webcomic makes for an interesting experience.
By 2012, Akiman had recommended the webcomic to artist Yusuke Murata, who teamed up with ONE for a remake of the webcomic that would run in the pages of Weekly Shonen Jump, expanding on the world and characters that ONE had created online. On a site where a comic was considered a "success" if it got 30 viewers, One Punch Man drew thousands within a few weeks of starting, attracting the attention of people like Akiman, the legendary artist responsible for the character designs in video games like Street Fighter II, Darkstalkers, and Final Fight.
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