Xiang Bo, son of Kouen show us rhe Chu intel about what happened in Qin and we can assume he is head of the scout army of Kouen and the head of the network spy of Chu state. He also knowed as the most brutal among all the kouen's Son.

The images speak themselves, is not the only one but this the one who match the most the drawing character of Hara, the Kouen version with the helmet as références, combined with the kingdom 4 and 5 you can praticly match the future kouen Chu army, his lieutenants, his sons, his strategist and the pride of their clan the futur god of war xiang yu.

I thinks kouyokku is part of the same family or clan but its just my opinion

This is what happened in the Northern front meanwhile shin and karyoten are putting discord in zhao military chain command.

In the north the war is intensified, stratégie are deploying and Ousen is studying zhao army mouvement to check mate Riboku.

We also see Yuka maneuvring to corrupts Zhao official, especially those from Kakukai faction. And what he did in the Kantan Riboku House.

I hope hara gonna show this events, important for the understanding of this Arc.

While reading some Ravages of Time I noticed it is mentioned that the man in this image San Chuan is using very long and sharp sword, commonly known as the Qin Jian, a sword associated with the state of Qin and its own style of swordsmanship. What makes it especially interesting is its unusual length and thin, sharp design compared to other swords of the time. It’s also mentioned that this style of sword was lost after Qin Shi Huang sent boats with famous generals looking for some magical herbs and they never ended up returning.

I haven’t read Kingdom in a minute but was curious if this type of sword has appeared in Kingdom if so when, I know Hara is addicted to glaives so I’m not entirely sure if it is in Kingdom.

People of Qin state Good evening,

I know people of RKH are big fan of kingdom ROT.

Hi know this is fictionalized anime but I need a clear answer

This is the fight, sorry the first fight of ZhaoYun vs Lubu, and a question cross my mind

If we put aside things that he come from handicaped warriors etcetc

This thing amaze me because when I only focus on age of zhaoYun, who was around 15or16 years old only

The question came : the Lubu, zhaoYun is fighting, he's the LuBu Prime? or That Lubu prime gonna came later?

Lubu from Luoyang burning is the Primé or Lubu Xiapi or Xiapei is the Prime ??

Im a little confused, in the story where lubu is at his peak ??

Another important things, its a feat to take one on one Lubu.

Good evening everyone!

Here’s the actual showcase I wanted to present to you yesterday before we got side-tracked by the Shibasnitch show. But honestly, showing that version was a necessary detour! Now, just like me, I bet many of you are left guessing about Riboku’s eventual end. With so many historical adaptations already out there, the field of possibilities is wide open, with countless paths to reach that fateful moment. Hara has to be well aware of all these alternate takes—if I know about them, there’s zero chance he doesn’t—so he has plenty of room to craft his own journey.

That brings us to this version from the 2021 TV Drama, featuring arguably one of the best-acted scenes of Riboku’s death. The production value is solid, the soundtrack sets an incredible tone, and the actor playing Riboku is easily the standout of the entire series.

Quick context for the clip:

• Part 1 (not shown): A initial ambush featuring Shibashou (where he actually dies, for anyone curious!). Riboku holds his own remarkably well in combat before grabbing a horse to make a break for it.
• Part 2 (the video clip): This is where our video starts, right after his escape attempt.

Whether you see this as a palace coup, a public execution, or a battlefield ambush—I’ll let you be the judge. The clip speaks for itself, and the full drama is out there for anyone interested.

One last interesting detail: in this conflict, Rishin, Ouhon, Yotanwa, and Ousen are all involved. Yet, once again, Karyoten is nowhere to be found.

It really makes me wonder: is Ten just a narrative decoy for deploying the main scénario elsewhere, or will she—much like Yuka—act as the main thread tying all these events together until Riboku's final downfall?

Good evening, everyone!

I was planning to keep this gem in the vault for a while longer, but to save anyone from getting lost in wild theories about Riboku’s death, we need to talk about it right now. To be totally honest, when it comes to how Riboku dies, I’ve devoured every format under the sun: historical texts, poems, theater plays, manga, TV dramas, and docudramas...

Don’t get me wrong: I’m not here to predict the exact future. Yasuhisa Hara is cooking up his own recipe for Riboku’s downfall, and honestly, I love that. Even if he throws in a few subtle nods to other authors—like that romantic sunrise moment with Kaine—he's clearly building his own thing, but one of the version of Riboku démise is centralized around the Sun of Zhao kingdom.

That being said... the version I'm dropping today is absolute comedy gold. I’d be lying if I said I wouldn't love to see Hara adapt this. It involves a massive player: Shibashou. We all know this absolute unit of a man has an imposing design and will play a big role, but the way he’s portrayed in this specific docudrama kills me every single time.

At first, I had no clue why the menbers of RKH dudes in their community kept laughing whenever I brought up Shibashou and Seika. Now I get it. Prepare yourselves: welcome to the era of Shibasnitch! Watching this supposed giant get pressured by Kakukai and straight-up snitch on Riboku is peak fiction. The video proof is right here (I even paused on the frames showing their names). Some of you will rage and live in total denial, but the receipts don't lie!

Behind the hilarious betrayal, it actually raises a few real questions:

• Should we seriously question Shibasnitch’s "loyalty" to Riboku?
• This scénario is headed toward a classic public execution near the capital or in the capital!! With a cold, off-screen death of riboku.

I'll leave you with the images so you can make up your mind.

And in this version there is not shin or karyoten too, only zhao intern fighting.

Hello everyone for me Liu Bei is kind of spécial character with all his says, about HanWudi

I Jump on king war and shi Han contention to undestand Han legacy and so on

I discover this manga where the main character is Liu Bang, this time xiang yu is not necessary portrait as the vilain

And the shin of the story ironicly is not HanXin but LuWan , Liu Bang childhood body, and he can take some Xiang Yu blow and be safe but not that long, and Liu Bang is portrait as the intellectuel and à warriors too, général of the left of the Army of Xiang Liang.

so this the Dream

and im gona do à better post about this manga for people interested.

peace one love for 3k modo 🙏😘 sorry the main subject of the previous doesn't fit well but, in large point its related, just its fictional.

I know some people might disagree with this post or feel the need to lecture me, but honestly, there’s no need for that. I’m just sharing something I found interesting because I think it adds a little more context to the discussion.

I often see weekly posts about Riboku’s downfall and the events currently unfolding, with people looking for more clarification. Beyond the explanations we’re usually given, which sometimes leave us to simply take certain things on faith, I feel like having additional historical material can only enrich the discussion and our understanding of Kingdom.

So first of all, I’d like to thank the kingdomhistorival community for being so welcoming. I really enjoy seeing people genuinely interested in the historical side of these events. Sometimes I’m even tempted to share spoilers about similar events I’ve come across in other works related to Kingdom 😅. But I also understand why some people prefer to keep certain information out of the discussion, especially when it could take away from the experience for others.

The image I’m sharing here comes from a work that chronicles the life of Riboku’s son. I’ve deliberately left out some details because I’d like to make a separate post about him and give that topic the attention it deserves.

One thing that always makes me smile, though, is seeing people talk about Riboku’s “grandson” and coming up with all sorts of theories about what might—or might not—come out of Kaine’s womb. 😂 Without getting too deep into the speculation, the basic logic is pretty simple: to have a grandson, you first need a son.

So all the discussions about calculating birth dates and trying to determine whether the child could be Kaine’s or someone else’s honestly amuse me quite a bit.

At the same time, I do feel a little bad for people who are genuinely interested in learning what actually happened historically and are hoping for more information. I think that’s a perfectly reasonable thing to want.

And if the conversation is mainly going to revolve around Shin’s mental development—which, in my opinion, isn’t really the main focus of this particular arc—I can also understand why people who have access to the same material might hesitate to share it. Because is Riboku’s son history, there is no Shin and Karyoten, that kid make Eisei is nemesis for his dans Killing.

Anyway, I’m not posting this to shut down anyone’s theories or tell people how they should enjoy Kingdom. Quite the opposite: I think the historical side of the story can make the discussion even more interesting. I’m simply sharing something I found worth discussing, and I’m curious to hear what others think. 🙂

I know some people might disagree with this post or feel the need to lecture me, but honestly, there’s no need for that. I’m just sharing something I found interesting because I think it adds a little more context to the discussion.

I often see weekly posts about Riboku’s downfall and the events currently unfolding, with people looking for more clarification. Beyond the explanations we’re usually given, which sometimes leave us to simply take certain things on faith, I feel like having additional historical material can only enrich the discussion and our understanding of Kingdom.

So first of all, I’d like to thank the kingdomhistory community for being so welcoming. I really enjoy seeing people genuinely interested in the historical side of these events and have a bank of manga panel. Sometimes I’m even tempted to share spoilers about similar current events I’ve come across in other works related to Kingdom 😅. But I also understand why some people prefer to keep certain information out of the discussion, especially when it could take away from the experience for others.

The image I’m sharing here comes from a work that chronicles the life of Riboku’s son. I’ve deliberately left out some details because I’d like to make a separate post about him and give that topic the attention it deserves.

One thing that always makes me smile, though, is seeing people talk about Riboku’s “grandson” and coming up with all sorts of theories about what might—or might not—come out of Kaine’s womb. 😂 Without getting too deep into the speculation, the basic logic is pretty simple: to have a grandson, you first need a son.

So all the discussions about calculating birth dates and trying to determine whether the child could be Kaine’s or someone else’s honestly amuse me quite a bit.

At the same time, I do feel a little bad for people who are genuinely interested in learning what actually happened historically and are hoping for more information. I think that’s a perfectly reasonable thing to want.

And if the conversation is mainly going to revolve around Shin’s mental development—which, in my opinion, isn’t really the main focus of this particular arc—I can also understand why people who have access to the same material might hesitate to share it.

Anyway, I’m not posting this to shut down anyone’s theories or tell people how they should enjoy Kingdom. Quite the opposite: I think the historical side of the story can make the discussion even more interesting. I’m simply sharing something I found worth discussing, and I’m curious to hear what others think. 🙂

And if Does that image validate or invalidate some théorie, I don't know 🙄

And I don't think hara gona take the Exactly same scénario, I think he take the path for giving us his explanation of this important situation.

But this image describe well what I was reading in some previus post on the subject Riboku donwfall.

In the second and final part, Hara talks about his childhood, his mindset after 20 years of serialization, Kingdom**’**s adaptations, his inspirations, analog manga, AI, and his vision for the future of Kingdom. He also shares his goals after Kingdom and why he still aims to reach the top. Here is the second and final part of the interview, translated into English.

Q: Could you tell us a bit about your childhood and younger years?

Hara: When I was little, I felt like everyone grew up believing, "I can become anything." Looking back, maybe it was just that I hadn't realized my own limitations yet (laughs). Also, my older brother—who is seven years older than me—used to tell me, "There are overwhelmingly more good people in the world than bad."
During my university years, that same brother told me, "I'll lend you money, so go travel around Europe." So I flew to Italy and traveled across Europe, planning to fly back from Germany. I had pre-booked my flight tickets, but everything else—local travel, accommodations—was figured out on the fly.
While in Germany, I got onto a bus without knowing where it was heading. I couldn't speak German, and none of the people around me spoke English, so I was completely stuck. But then, a local who spoke English kindly guided me. At a train station in Switzerland, I didn't know which train to board, and another local stepped in to help me out. Experiencing that kind of warmth from strangers firsthand made me truly realize: My brother was right, the world really is full of good people.

Q: It feels like many of the characters in Kingdom are, at their core, "good people."

Hara: Quite possibly! If I had gone through horrible, traumatic experiences on that trip, Kingdom might have ended up as a dark story filled entirely with dark characters! (laughs)

Realized Over 20 Years of Writing: The True Essence of an Author

Q: If you could say one thing to yourself from 20 years ago, what message would you give him?

Hara: I'm the type of person who doesn't truly understand something until I experience it firsthand, so even if I told my past self anything, he probably wouldn't listen. If I said, "Devise a method to draw manuscripts faster, otherwise chapters will take forever," 20-years-ago me would probably just think, No way, I'm going to draw incredible stuff super fast! (laughs) I might try to advise him on how long certain processes actually take, but in the end, I feel like going through that struggle yourself is a necessary phase.

Q: If you could give a gift to your self from 20 years ago, what would it be?

Hara: I wouldn't give him anything. Even failure—if you don't experience failure yourself, you'll never understand its true value. I check the drafts (name). Overcoming those walls changes how you view things, helping you grow both as a person and as an author.

Q: Over these 20 years, have you noticed physical changes or shifts in your mindset toward creating manga?

Hara: To put it simply, my stamina and concentration have dropped. (laughs) Early in the serialization, I felt eager to tackle everything—thinking, "I have to do this,"* *"I want to try that," yet at the same time realizing, "I still have so many pages left!" Now, as mentioned earlier, because I think about multiple things simultaneously, the time it takes to advance the story has gradually stretched out. But I've also learned how to pace myself without spending unnecessary time. I can now gauge the page count and think, "At this page count, I can manage this level of drama," which has helped me structure scenes more efficiently.

Q: Do you envision getting even faster in the future?

Hara: No, I don't think I can get much faster than this! (laughs) It's not like I can just flip a switch and go into high gear. I also need a few hours to reset and zone out, which is physically necessary to keep working.

Q: Is your sleep schedule still managed carefully?

Hara: I'm hyper-focused right now! (laughs) Right before deadlines, it's always, "Oh no, the storyboards aren't done!" and the staff ends up waiting around. When I'm in deep focus, the staff can work for hours, so finding time to recharge is crucial.

**"I Used to Spend About 2 Days on Storyboards, But Now..."**

Q: What is the most important mindset for maintaining a serialization over 20 years?

Hara: You shouldn't fear failure. When rookie creators make mistakes or struggle with drawing, they often stall because they overthink things, unable to produce output for months. But the fastest way to grow is to keep producing work anyway, listen to third-party feedback, and push through to the end even if you aren't completely satisfied. Growth doesn't happen linearly; it spikes all at once like a staircase after you overcome those hurdles repeatedly.
During my salaryman days, I once submitted a bugged software program to a client company. For 48 hours straight without sleep, my supervisor and I worked frantically to fix it while the client watched us closely. Through that intense trial and error, my programming skills suddenly shot up in a short time.
The same applies to manga: by repeatedly making storyboards, drawing, failing, and learning what works, you naturally discover your strengths and hone your craft.

"Kingdom" Gaining Momentum Through Media Adaptations and TV Shows

Q: How did you feel when Kingdom began gaining widespread attention through anime, live-action films, and TV features?

Hara: It was incredible to see the work reach so many people beyond the manga readers I’m always fighting off sleepiness, so I’m constantly trying different countermeasures. A while back, I used to blast music at max volume through earphones to stay awake, but then I read an article saying it might ruin my hearing, so I stopped. Now, at set times, the entire staff and I spend about 10 minutes doing light physical exercises to wake ourselves up.

Q: What is the most important mindset for sustaining a serialization over 20 years?

Hara: It's aiming to **"sell."** For me, it was my starting mindset, but a true ambition to **"sell."** When I talk to people in other industries, they often ask me in surprise, "Are you still focused on selling?" I’ve heard that as creators become veterans, that hunger fades and they stop chasing numbers. But for me, my focus on "selling" hasn't wavered one bit. In fact, after 20 years, I feel a stronger sense of impatience that I still haven't reached the goal I originally set for myself.

Q: What is that goal?

Hara: A simple goal: to be the number one seller. (laughs) Younger creators sometimes tell me, "I'm just happy my manga gets published alongside Kingdom in Young Jump during gatherings," but I think that's missing the point. Getting published in a magazine isn't the finish line; it’s just the starting line. You have to seriously think, "What do I need to do to take the number one spot?" When my serialization first started, the top spots on the popularity surveys were held by established titles, so I was constantly thinking about how to break through that wall: "What am I lacking?"* "Why is that series selling?" *"How can my series win?" Even after 20 years, I still analyze these things today. Being number one is an goal I still hold dear.

"Kingdom" Gaining Momentum Through Media Adaptations and TV Shows

Q: Kingdom has been adapted into various media formats, including games, anime, and live-action movies. What impression did each leave on you?

Hara: The very first adaptation was a game for the PlayStation Portable. I still remember how thrilled I was when my editor told me about it. At the time, Kingdom wasn't very popular yet, so for a developer to take a chance on making a game out of it was a huge, brave leap. The game itself was fun, but because Kingdom didn't have strong name recognition back then... I heard it didn't sell very well. Years later, at a Shueisha event, I met someone from the development company who told me that the lead developer had actually been demoted because of it... Even though they took a huge risk and put so much heart into making it, it didn't perform. I still feel a deep sense of apology and gratitude toward that person to this day.

Q: How did you feel when the anime adaptation was announced?

Hara: My perspective shifted along the way, but initially, I wasn't really hoping for an anime adaptation. While I had managed to avoid cancellation, sales of the physical manga volumes were plateauing. Still, in my heart, I wanted to sell based on my own strength without relying on the power of an anime, but my editor scolded me: "Don't be ridiculous!" (laughs) After that, when sales weren't moving much, I started thinking, "I really hope we get an anime adaptation soon."
Q: How was the reaction when Kingdom was featured on the TV show Ame Talk!?
Hara: It brought an explosion of attention overnight. People who had never read it started saying, "I haven't read it, but I know what title it is." After the broadcast aired, people began referring to it as "that Chinese history manga," and I could genuinely feel it becoming a mainstream title.

Hara-sensei's Inner Mind: The Secret to His Craft—

Q: Do you have any set routines during your daily work routine?

Hara: I don't have super strict rules, but I always drink coffee every morning. I've gotten really into coffee brewed by a staff member who makes incredible cups. They visit shops with world-class baristas, constantly studying and asking questions because they're so passionate about it. Having a cup brewed at their recommended roast level is truly delicious. I also mentioned light exercise earlier—the staff and I take breaks together to do exercises to stay healthy as we age. I feel a stronger sense of impatience that after 20 years, I still haven**'**t reached the goal I set for myself. think about how to take Kingdom to the next level. After that, we have the "Kingdom Exhibition" and the "Kingdom Museum."

Q: When you see Kingdom taking shape in physical spaces like that, how does it feel?

Hara: It makes me want to draw the manga with even greater passion and intensity!

Q: What kind of media do you draw inspiration from when creating stories?

Hara: I mostly watch movies. I often go to the movie theater during off-peak hours before a release deadline. Recently (as of February 2026), I went to see Mobile Suit Gundam: Hathaway's Flash. (laughs) My favorite directors include David Lynch, Christopher Nolan, and Denis Villeneuve. I saw Top Gun: Maverick and Interstellar about two times each in theaters. I'm the type of person who gets deeply immersed in the perfection of a screenplay. When I see a film with an exceptionally well-crafted script, it hypes me up, making me feel like, "I want to achieve something this high quality in my own work too!" I also love foreign drama series like Game of Thrones.

Q: You love movies with heavy, dramatic tension, don't you?

Hara: Ever since my university days, I've loved movie trailers. Scenes that build immense anticipation—like "I have to see this film!"—are my favorite. I try to incorporate that same thrilling, high-stakes feeling into my manga.

Q: Do you have any favorite music you listen to while working?

Hara: Sorry, that was a long answer earlier! (laughs) I love Hiroyuki Sawano-san's music, and I always listen to it whenever I'm drawing storyboards (name). This has become a fixed routine for me. I think I might be the biggest fan of the Mobile Suit Gundam UC soundtrack in all of Japan! (laughs) When working on storyboards, I listen to it on loop. Scenes that build dramatic tension benefit so much from music that features soaring brass or grand choir elements—it really gets the creative energy flowing. Some of my absolute go-to tracks are "MOBILE SUIT" and "RE:I AM MIX" from the Mobile Suit Gundam UC Original Soundtrack 3, as well as "SYMPHONIC SUITE UC2012" and "5th MOV.: GUNDAM". I highly recommend listening to those while reading the climax scenes of Kingdom!

Q: That's an incredible list.

Hara: I was thrilled when David Benioff and D. B. Weiss—the creators, showrunners, and writers of Game of Thrones—visited Japan for the DVD/Blu-ray release event, and I actually got the chance to talk with them! In 2019, around the time the Kingdom film was released, I bought the Game of Thrones Blu-ray box set and rewatched the whole thing. What makes Game of Thrones so brilliant is how expertly it handles complex character dynamics and multi-threaded plots without letting the audience lose track or interest. The character drama is constructed with incredible depth, making every single storyline fascinating to follow.

The Future of "Kingdom" and Beyond: Aiming for the "Top"****!

Q: If Kingdom has a ultimate goal, where do you see its current position?

Hara: I can't say for sure, but I feel like the end is gradually coming into view. Though, I've been saying that for about 5 years now! (laughs) Once we cross into the next major phase, the final stretch will truly begin. So I want to keep running full speed ahead until we reach that goal.

Q: It’s exciting to hear, but at the same time, the thought of the serialization ending brings a touch of sadness.

Hara: Once Kingdom concludes, I actually want to try making a movie next! That's another dream of mine. Ideally, an animated film. Eventually, I'd love to try directing a live-action project as well.

Q: Kingdom is drawn using traditional analog tools, but do you have any plans to transition to digital?

Hara: Kingdom won't be switching to digital. However, as digital tools continue to evolve, I feel like traditional analog techniques are gradually becoming a lost art. That's why I want to preserve and refine analog craft as much as possible. Plus, with the rapid advancement of AI, who knows what the future holds? (laughs)
This completes the translation of the full interview section across all pages! Let me know if you'd like any adjustments to the tone, formatting, or name transliterations before publishing I think we'll start seeing manga creators who use AI to craft their manga. In doing so, the culture of drawing manuscripts on paper might gradually fade away. It might sound sudden, but that's precisely why I feel that drawing with analog tools carries such a sacred, important meaning right now.

Q: What is something you would like to try doing 20 years in the future?

Hara: First, I want to wrap up Kingdom in the absolute best way possible, and then hold another "Kingdom Exhibition." After that, I'd love it if a facility like a "Kingdom Museum" could be built in my hometown.
Back in 2021, when we held the "Kingdom Exhibition - Shin -", I was thinking about what to do with the displayed original manuscript pages afterward, and it reminded me of Takehiko Inoue-sensei's "The Last Manga Exhibition." The original artwork was amazing of course, but the atmosphere and space of the venue itself were truly incredible. I remember thinking, "If I could drink coffee in a space like this, it would be pure bliss." So, I want to create a space in my hometown where people can enjoy a cup of coffee while viewing the original manuscripts of Kingdom.

Q: That sounds like a luxurious space! (laughs)

Hara: Instead of static reproductions, I think it would be great to rotate and display actual original manuscripts periodically—which is another reason why I stick to analog tools.
Also, I mentioned earlier that I want to make a movie, and I'm aiming for the #1 spot there as well! (laughs) People might laugh at me for saying, "I'm jumping into a new field out of nowhere and aiming for #1!" But I have a history of quitting my salaryman job, making my debut as a manga artist around age 30, and aiming for #1 then too! (laughs) So no matter what, I want to keep aiming for the top.

**"Finishing Kingdom in the Absolute Best Way..."**
The Path Woven by Hara-sensei Burns Red — Our Journey Continues —

This concludes Hara**’**s interview, which I shared with you in two parts. I would also like to once again express my thanks to
u/External_North4274 for providing me with the interview, allowing me to translate it and share it with you.

In this interview (part 1) Hara reveals how Hyou was created, why Shin became the protagonist, Ouki’s origins, Kanki’s “sacred land”, and Kingdom’s major turning points

Q: When did you first conceive the
character of Hyou (Piao)? He didn't appear in the original one-shot Kongou, right?

Hara: That’s right. Kongou and the subsequent one-shot Li Mu both scored very well on reader surveys, which led to a greenlight for a serialized series meeting. But once I actually started working on the draft layouts (name), the editor in charge rejected them time after time. None of the ideas were landing. Just like in Kongou, I was trying to advance the story with a trio consisting of Karyo Ten (He Liaochiao) as a sister figure, along with Shin (Xin) and Ei Sei (Ying Zheng). Because that wasn't working, I kept re-evaluating the narrative framework and changing how Shin and Ei Sei met through trial and error. That was when I added Hyou as a new character. I tried so many different variations during that phase.

Q: So Hyou was born out of that process of trial and error.

Hara: Exactly. Among those early drafts, there was even a version where Ei Sei was the main protagonist. However, because that Ei Sei was a bright, cheerful character—much like the body-double concept popular at the time—the story was created by mixing various elements together. While many of those storyboards ended up being rejected, looking back, they became the foundational "ingredients" that carried over into Kingdom. It feels like all those pieces eventually came together to form the series.

Q: Are there elements from Kongou that have been passed down into Kingdom?

Hara: Yes, Shiji (The Records of the Grand Historian). At the end of Kongou, I included quotes directly from the Shiji. Being able to draw upon historical events recorded in the Shiji serves as a powerful foundation for building the plot. At the same time, it allows me to weave in my own original ideas. I really wanted to create a story that depicts warfare grounded in that rich historical context and drawing him as a character influenced by those early ideas is, I believe, one of the biggest defining features of Kingdom.

Q: In the special issue Kingdom Sou集編 I, it was mentioned that "without Kongou, the Kingdom we know today wouldn't exist." Looking back, what was the biggest takeaway from creating Kongou?

Hara: Because of Kongou, I was able to encounter the character of Shin. Originally, I was planning to draw the series draft with Ei Sei as the main character. But when I struggled with it and mentioned it to my editor, he advised me: "Why not make Shin the protagonist instead?" Up until then, I had always assumed the main character had to be someone of royal or noble standing like Ei Sei, so depicting Shin as a protagonist felt fresh. Depicting a protagonist who charges onto the battlefield himself gave the story incredible momentum. Thanks to Kongou, I was able to pivot to Shin, and everything fell into place seamlessly.

"Receiving Critical Comments Made Me Realize:** ****'We’ve Finally Gained Popularity'"**

Q: Looking back on these 20 years, does it feel more like "already 20 years" or "only 20 years"?

Hara: Definitely "already 20 years." (laughs) Under the original roadmap for Kingdom, the series was supposed to be completely finished by the 20-year mark, but we're nowhere near done!
I approach the creation process by balancing long-term, medium-term, and short-term perspectives while mapping out key story milestones. When I first started, I thought, "Even if it takes a while, it'll end in 10 years." But the initial Seikyou (Cheng Jiao) Rebellion arc alone took up to Volume 5. It was originally planned to finish within 2 volumes! As subsequent arcs grew longer than anticipated, every time a new arc wrapped up, I found myself thinking, "I need to find a way to speed up the pacing." On the other hand, when a major campaign like the Coalition Invasion Arc comes along, I want to take my time and depict every detail thoroughly. So that desire for speed ended up being put on hold. Re-reading the story now, it’s deeply satisfying to see how engaging it turned out, so I'm fully at peace with how it unfolded.

Q: How often do you re-read your own work?

Hara: Drafting the manga takes a heavy toll both physically and mentally, so I get exhausted and find it tough to re-read it right away in Weekly Young Jump. Once a chapter is published in the magazine, I get nervous checking for minor story errors—it’s honestly too nerve-wracking to check in real-time. So, I do most of my reading and quality checks during the volume release process.

Q: Was that your mindset and physical condition right from the start of the serialization?

Hara: Oh, absolutely, especially at the very beginning—it was downright embarrassing. After graduating from university, I quit my job after working for about two years to dedicate myself fully to manga. Back then, I foolishly thought, "My art is pretty good!" But when the first chapter was published and I saw the actual magazine, I was crushed by the sheer gap between my work and the other serialized creators. I had proudly announced to everyone, "My serialization is starting!"—only to end up red-faced with embarrassment. (laughs)
For about a year after that, I couldn't even bring myself to read the magazine. Seeing the rich, dense ink work of artists who produced gorgeous pages for Young Jump made my own work look so unrefined... That experience created a habit where I just couldn't check the magazine releases right away.

Q: Where did you first start feeling the response from readers?

Hara: From fan letters and online message boards. Early on during the serialization, message board threads had very few comments. I kept myself motivated by reading the encouraging words left by that handful of passionate readers. But over time, as all sorts of opinions flooded in—including critical ones—it hit me: "We've finally gained enough popularity to get critical feedback." Early on, I remember seeing comments like, "Get rid of unappealing characters like Karyo Ten already!" At the time, I thought, Just hold on a little longer, I've prepared some great drama for her! (laughs)

Q: Over the course of 20 years of serialization, what moments stand out as particularly memorable to you?

Hara: The turning point was about a year into the serialization. The series wasn't performing well, and my editor kept warning me, "If things keep going like this, we're in real trouble." I had been confident that I was creating something interesting, so at first I thought, "Surely not..." But then came a time when I was pushed to the back of Young Jump, and it hit me: "I might actually get canceled..." Around that time, Takehiko Inoue-sensei—whom I had previously worked under as an assistant—invited me to a year-end gathering, and I used the opportunity to consult him. I told him, "I feel like I'm giving it everything I've got to make the story interesting, but I just don't know where to go from here." Inoue-sensei reassured me, "The story is already plenty interesting. It's just that the characters' irises are too small." Starting with the very next chapter, I made a conscious effort to draw larger irises, and I realized just how essential the eyes are for conveying a character's emotions. It depends on the work, of course, but even though Kingdom is drawn with a dramatic, heavy touch, the eyes were lacking impact. By focusing on the pupils and irises, the overall quality of the artwork noticeably improved. Looking back, Inoue-sensei may have used the phrasing "small eyes" as a gentle way to point out a fundamental lack of depth in my art. As the narrative gathered momentum and moved toward the protagonists winning, Kingdom took the #1 spot in the reader popularity surveys right around the conclusion of the Seikyou Rebellion arc. The survey results at that moment left a profound impression on me.
Another major turning point was Ouki’s (Wang Qi) death scene in Volume 16. While Ouki was always destined to die, I originally hadn't planned to build him into such a massive, beloved figure. But then I realized: in historical works like Records of the Three Kingdoms, famous generals like Guan Yu and Zhao Yun abound, but in Kingdom, there weren't many prominent generals established yet. I decided to challenge myself to write a heroic, grand figure in Ouki. If I was going to write a orthodox hero, making Ouki look naturally handsome would have been the conventional choice. However, Ouki was actually an experimental character I had created back when I was Inoue-sensei's assistant. He was originally a eccentric character I drew to amuse a senior assistant named Mr. Tamura, who reacted with, "Hara-kun, this guy is awesome!" That design became Ouki almost as-is.
Because he was that kind of character, I introduced him without a concrete plan and let him grow organically. As the story progressed, he naturally got stronger and stronger. Eventually, he became so powerful that I found myself worrying, "How on earth is Ei Sei supposed to surpass this guy?" Still, he truly grew into a signature character representing Kingdom.
Losing a pillar like Ouki left a huge hole, so to fill that void, I introduced Meng Wu (Moubu) and Ouhon (Wang Ben) as rivals of the same generation. At the time, during a meeting with my editor, we noted that "there are no handsome characters" and "almost no female characters," so I introduced Ouhon as a handsome, polished figure. The third major turning point, coming after Ouki's death, was the Mountain Realm and Coalition Invasion arcs. I still clearly remember designing the narrative flow so that Ei Sei's speech would serve as the absolute climax of that arc. As a side note, the Coalition Invasion arc was extraordinarily long, which left both my editor and the staff completely exhausted. Right when the people of the Mountain Realm arrived to save the day, I wanted to take my time depicting the retreating enemy forces in detail. But my editor told me, "Everyone working on this campaign is utterly exhausted, so please don't draw a long, drawn-out retreat!" (laughs)

Bringing Ei Sei**'**s Speech to Its Absolute Climax

Q: That was right around the point where the climax was built up so intensely, right?

Hara: Exactly. I silenced the dialogue and compressed the scene into a montage. Even so, I was fully satisfied because I managed to capture the sheer passion of Ei Sei's speech. I had spent over a year running that speech through my head over and over, so drawing the actual storyboards felt incredible. It truly became one of the ultimate climaxes of the entire series It was a moment that had been building up continuously. In a desperate, cornered situation, the Qin army faced a critical crisis, and the scene where Ei Sei's impassioned speech rallied the morale of the people of Sai felt like a high-stakes moment in baseball. It was like going into the bottom of the 9th inning with two outs and bases loaded: hitting a home run meant a complete comeback win, so I was in a state of intense tension, thinking, I absolutely cannot swing and miss here!

Q: You hit a grand slam, fair and square.

Hara: If I were to name the final major turning point, it would be the debate between Ryofui (Lü Buwei) and Ei Sei in Volume 40. That episode came about because my editor requested, "I want to see Ryofui shine!" Ryofui makes a logical, sound argument to persuade Ei Sei, using a whole chapter to deliver his points, and Ei Sei had to counter that logic without backing down in the following chapter.
I wrestled heavily with how Ei Sei could refute him. Ryofui argues against war using a framework similar to the modern world: building a prosperous economy to make warfare obsolete. In our modern world, wars haven't vanished, and economic prosperity doesn't necessarily eliminate conflict; in fact, it can sometimes spark modern-day grievances.
I felt it was impossible for Ei Sei to refute that through economic arguments alone, so he takes a completely different angle, speaking to the fundamental nature of humanity. I wanted readers to feel that Ei Sei was ultimately superior as a ruler. Looking back, weaving together the drama of Kyoukai (Qiang Lei), Seikyou, and the Queen Mother while making Ei Sei shine was a delicate balancing act, but I'm glad it all meshed together so well.
"Dying Without Drama Would Betray Reader Expectations—They Wouldn't Accept It"

Q: Are there any other memorable episodes you’d like to highlight?

Hara: I also love the drama surrounding Kanki (Huan Qi) at the end of the Battle of Gian, following Kokuyou Hills. But that was probably the most exhausting arc to draw. I actually didn't like Kanki all that much at first, so I kept pushing his core storyline further down the line. However, because his death is recorded in the Shiji, it was always set in stone that he would die in Kingdom.
I had originally planned for him to die a fittingly tragic end as retribution for his past actions. But as his popularity grew, I realized I needed to re-examine the core of his character. Dying without a proper dramatic payoff would betray reader expectations, and readers simply wouldn't accept it. Unlike other generals, Kanki had no ambition to become a Great General or unify China through conquest; his men were essentially rioters rampaging through war. So finding out what actually drove him was extremely difficult. Uncovering a mysterious character's past is always a risky move that can easily backfire, so I wasn't particularly eager to do it... but we couldn't move forward without addressing Kanki's childhood. Even during our story meetings, the core of Kanki remained elusive. Then, during a separate discussion about a completely different plot point, the phrase "returning to the sacred land" suddenly popped up—and everything clicked into place. Out of all the moments up to reaching that point, that phrase took the absolute most mental energy. Looking back, these past 20 years have really been a continuous cycle of that kind of painstaking effort! (laughs)

Q: Over these 20 years of serialization, were there ever moments where you felt completely overwhelmed or ready to give up?

Hara: I never thought about giving up entirely. However, during the period between quitting my company job and officially securing a serialization—when things just weren't going well—there was a single day where I was overcome with anxiety, thinking, Did I make a huge mistake? But by the very next day I told myself, "There's no way that's true," and the anxiety just completely vanished! (laughs)

Q: What happened to clear your mind?

Hara: Honestly, nothing in particular! (laughs) I just slept well, woke up, and realized there was no point in worrying. Earlier, I had been wondering why Ei Sei turned out the way he did. In Kingdom, there's a backstory mentioned by Lord Shoubun (Changwenjun) where Qin's army lost almost everything in a single campaign, leaving only 200,000 soldiers intact. I had wanted to write a full episode persuading Lord Shouheikun (Lord Changping) to overcome that crisis, but it required way too many pages to fit the chapter limits. My editor ultimately told me, "Let's drop this idea for now."

Note:
This interview is quite long, so I decided to split it into two parts—the first part is what you’ve seen above, while the second will be released in the coming days. Also, due to its length, I used AI to help fix errors and translate a few paragraphs I didn't fully understand 🙏

None of what you see here would have been possible without the help of
u/External_North4274 , who provided the interview and made translating it possible. Big thanks to him!

1.When the ruler asks for wood, the subject raze the forest.

2.When the Ruler asks for fish, the subject drain the walley.

3.When the lord asks for power, the generals carry out a rmassacre.

Professor water miror must have study kanki Run to teach this kind of warfare to his students

I see no one other than kanki, maybe hakuki but at this scales he must be kanki the butcher

"What is greater than a great general under the heavens?" The answer is: a eunuch.

And worse still, a Grand Eunuch under the heavens (a reference to An Lushan).

The Eunuch’s Art of WarThe Book of the Great Eunuchs Under Heaven

When the Scholars’ Faction begins plotting against you, do not confront them directly. Wait until they expose themselves.

Once you learn of their plot, ask the Empress to strike first and give the action imperial authority.

Prepare a false imperial edict. Leave it blank, but claim that it contains accusations against the generals and scholars for treason.

Kidnap members of the Scholars’ Faction. If possible, take a member of the royal family, as this will make their leaders act quickly.

Invite the generals’ children to play with the young Emperor, placing them within the palace under the appearance of royal favor.

Intercept the leaders of the Scholars’ Faction when they come to recover their children.

Kill everyone involved—adults and children alike.

Bring their bodies before the Commander-in-Chief.

Demand that the general perform seppuku, for he has no allies left and no place remaining in the world.

If the general negotiates for the freedom of his men, accept his terms. Once the general has departed, execute the remaining prisoners.

Bonus

That same night, hold a gigantic imperial banquet, with lavish wine, music, and entertainment, as though nothing had happened.

Thus is the art of the great eunuchs under Heaven: strike through intrigue, command through fear, and leave no enemy standing.

1. Cao meng
2. Cao Teng
3. Zhaogao
4. An Lushan
5. Lao Ai (Rou Ai) (or ours prefeted version Dark Rou Ai)
6. Zhang Rang
7. Zhang He (the navigator)

"What is greater than a great general under the heavens?"

The answer is: a great eunuch.

And worse still, a Great Eunuch under the heavens (a reference to An Lushan).

This maxim captures a structural reality of Chinese imperial history: the military authority of generals constantly collided with the proximity power and administrative oversight exercised by palace eunuchs.

Direct Assassination or Execution of Powerful Generals by Eunuchs

* **Zhao Gao and the Fall of the Qin (207 BC)** Following the death of the First Emperor, the eunuch **Zhao Gao** forced General **Meng Tian** (commander of the Great Wall forces) and Prince Fusu to commit suicide. He then systematically neutralized military leaders until the collapse of the Qin dynasty. *

**The "Ten Attendants" and the Assassination of Grand General He Jin (189 AD)** During the fall of the Eastern Han, Grand General **He Jin** plotted to exterminate the eunuch faction known as the Ten Attendants. The eunuch **Zhang Rang** and his clique ambushed He Jin inside the palace and decapitated him. This event triggered the final collapse of the Han court and led to the sack of Luoyang by Dong Zhuo. *

**The Downfall of General Li Guangli (90 BC)** Under the Western Han dynasty, court intrigues involving the eunuch **Guo Rang** framed Grand General **Li Guangli**. Facing imminent arrest and execution upon his return to court, Li Guangli was forced into a desperate campaign that ended in his surrender to the Xiongnu. *

**During the An Lushan Rebellion (756 AD)** Under the Tang dynasty, the eunuch **Li Fuguo** orchestrated the execution of General **Feng Changqing** and General **Gao Xianzhi** (the commander at the Battle of Talas) on false charges of cowardice while they were defending Tong Pass against An Lushan's rebel forces. Later, the eunuch **Yu Chao'en** maneuvered to disgrace and marginalize General **Guo Ziyi**, the key commander who saved the Tang dynasty. *

**The Execution of Yue Fei (1142 AD)** Under the Southern Song dynasty, Minister Qin Hui relied on inner-court palace factions and imperial guard eunuchs to recall General **Yue Fei**—the hero of the Jurchen wars—from the front lines. Yue Fei was imprisoned and executed under the fabricated charge of "perhaps there is reason" (*Mo xugou*). *

p**The Neutralization and Execution of General Yuan Chonghuan (1630 AD)** Under the Ming dynasty, General **Yuan Chonghuan** successfully defended the northern frontier against the Jurchens (Later Jin). The powerful eunuch faction manipulated Emperor Chongzhen into believing Yuan was a traitor. Yuan Chonghuan was arrested, condemned to execution by slow slicing (*lingchi*), and put to death.

Exemple of à Eunuchs Killing à great General under heaven.

Era / Dynasty	Key Eunuch(s)	Targeted General / Military Leader	Institutional Outcome
Qin (207 BC)	Zhao Gao	Meng Tian	Total seizure of imperial power
Eastern Han (189 AD)	Zhang Rang / Ten Attendants	He Jin	Collapse of central authority, sack of Luoyang
Tang (756 AD)	Li Fuguo	Feng Changqing / Gao Xianzhi	Eunuch control over capital defense forces
Tang (835 AD)	Chou Shiliang	Palace Guard Commanders	Dictatorial eunuch control over the throne
Ming (1449 AD)	Wang Zhen	Ming High Command	Annihilation of the imperial army at Tumu
Ming (1625 AD)	Wei Zhongxian	Xiong Tingbi / Yuan Chonghuan	Purge of military leadership, downfall of Ming⁸