Editing Shōnen manga (section)

===Narrative conventions===
A {{Transliteration|ja|shōnen}} protagonist is often characterized by contradictory qualities: short-tempered and cool, mischievous and rebellious, serious and cynical, clumsy and infallible, or who appears as a good-for-nothing but possesses hidden abilities. In some cases, the contradiction takes on a literal form in the form of {{nihongo|''henshin''|変身||{{lit}} 'transformation'}}, where the hero is able to switch between two personas with different appearances and personalities; examples of this device include ''[[Yu-Gi-Oh]]'' by [[Kazuki Takahashi]] and ''[[Samurai Deeper Kyo]]'' by [[Akimine Kamijyo]]. Transformation abilities are often linked with bonds to a spirit, monster or robot.{{sfn|Thompson|2007|pp=338-340}} A major narrative device in {{Transliteration|ja|shōnen}} manga is rivalry between the protagonist and his opponent,{{sfn|Levi|1996|p=9}} with a fight or a quest often appearing as a central element; ''Dragon Ball'' is among the most popular and commercially successful examples of this archetypal story.{{sfn|Drummond-Mathews|2010|pp=64–68}}

Typically, a {{Transliteration|ja|shōnen}} protagonist is an outsider, or in some way disadvantaged compared to others, but who through training, perseverance, and willpower eventually succeeds against all odds.{{sfn|Gravett|2006|pp=52–59}} Plots typically follow the basic structure of the [[hero's journey]], with much of the story focused on the protagonist's training and transformation into a hero, and on characters who earn their status as heroes through effort and tenacity rather than by virtue of birth or assignment. For long-running series, the hero's journey repeats itself; as a new [[story arc]] begins, the enemy becomes more powerful and the danger to be overcome becomes greater.{{sfn|Drummond-Mathews|2010|pp=70–75}} In addition to these external conflicts, a {{Transliteration|ja|shōnen}} protagonist often also faces internal conflicts, typically focused around maturity and growing older.{{sfn|Drummond-Mathews|2010|pp=70–75}} In contrast to {{Transliteration|ja|shōjo}} manga, which often focuses on the thoughts and [[interior monologue]] of the hero, {{Transliteration|ja|shōnen}} typically advances plot through dialogue and action.{{sfn|Prough|2010|pp=94, 97}}{{sfn|Levi|1996|p=9}} [[Happy ending]]s are common in {{Transliteration|ja|shōnen}} manga, but are not obligatory,{{sfn|Thompson|2007|pp=338-340}} with writers expressing the happy ending fitting for the demography even if it not comes up as a suitable.<ref>{{cite book|author=Watsuki, Nobuhiro|page=96|title=''Rurouni Kenshin'' Volume 24|publisher=Viz Media|isbn=978-1-4215-0338-7|year=2006}}</ref><ref name="war">{{cite web |title=Interview with Masashi Kishimoto Pt. 2 - Feb 13, 2012 |url=https://www.viz.com/blog/posts/interview-with-masashi-kishimoto-pt-2-204 |accessdate=April 16, 2022 |website=[[Viz Media]]}}</ref>