A major original manga exhibition for SAKAMOTO DAYS is now underway at Tokyo Dome City’s Gallery AaMo, featuring over 170 completed manuscripts and more than 90 handwritten creation materials. The opening event was attended by voice actor Shimazaki Nobunaga, who voices Asakura Shin in the TV anime.
The exhibition, titled SAKAMOTO DAYS 展, runs from July 17 to September 6, 2026. It showcases the work of Suzuki Yuuto, whose neo-action story blends battle and comedy. The manga began serialization in Weekly Shonen Jump in 2020 and has since released 27 volumes, with worldwide cumulative sales (including digital) exceeding 15 million copies. The TV anime aired its first and second cours in 2025, and a live-action film released during Golden Week 2026 drew 2.03 million viewers and earned 2.8 billion yen at the box office.
The exhibition is built around Suzuki’s dynamic and beautiful illustrations, with dramatic spatial design. Most areas allow photography. A highlight is the early unveiling of the cover illustration for Volume 28, drawn by Suzuki, which will be released on August 4.
Visitors can experience the tense battles and the sharpness of each strike, as well as the layered backstories that give the story its weight. The exhibition is designed to let guests enjoy the “destruction and creation” born from the assassins’ resolve and Suzuki’s own struggles at the pen tip.
Shimazaki Nobunaga’s Impressions
At the opening event, Shimazaki shared his thoughts after a private tour. He described the exhibition as “a place where fans of the work can become happy,” noting that Suzuki’s overwhelming manuscripts are on display up close, and that every detail of the exhibition is filled with love for SAKAMOTO DAYS.
When asked about the appeal of the series, Shimazaki said: “The balance of pace, the gap between serious and comedy—it’s excellent. In a word, it’s a delicious dark pot where every bite is tasty! The action is stylish and brilliant, but it also exceeds expectations. That unexpectedness, the deliciousness of the gaps and pace—these various elements are the great charm of SAKAMOTO DAYS.”
On the exhibition itself, he commented: “Seeing Suzuki-sensei’s manuscripts displayed in large size is incredibly exciting and makes me think ‘amazing.’ Moreover, the love for SAKAMOTO DAYS is packed in to the point of excess. The content is more voluminous than I imagined, and the structure lets you relive the serialization from the beginning. It truly makes your heart as ‘plump’ as Sakamoto Taro’s.”
Shimazaki also praised specific zones. Of Zone 1 (Sakamoto Store, Open for Business), he said: “It felt like being welcomed into the Sakamoto Store from the entrance. The cup noodles and drinks designed with each character were displayed, creating an atmosphere as if they were actually sold there. It was fun and warmed my heart from the start.”
Regarding Zone 2 (Destruction, Front Line), he noted: “The prominent red tower is surrounded by precious reproduction line drawings by Suzuki-sensei. It’s a perfect photo spot! The line drawings are things you wouldn’t normally see in the serialization or finished manuscripts, so it’s a playful touch typical of SAKAMOTO DAYS. I think it’s an effect that wouldn’t be possible without Suzuki-sensei’s permission, so I felt his generosity.”
On Zone 3 (Traces of Assassination Art), he said: “Because the series is about protecting everyday life, the daily scenes are also well depicted. That’s why the cool darkness of battle mode stands out. The display method is ingenious—characters burst out of the frames, glass shards are scattered on the floor… It gives a different three-dimensional feel from reading the original.”
Shimazaki also reflected on Suzuki’s skill: “You can compare roughs and line drawings with the finished manuscripts. The roughs are already surprisingly high quality, yet the finished versions have even more refined compositions and expressions. I was amazed that he would change things there. He must have thought through the characters’ feelings, the readers’ gaze, tempo, and rhythm down to the smallest detail. That’s Suzuki-sensei’s greatness and a major charm. I truly respect his attitude of aiming for the best until the very end within the limited time of a weekly serialization.”
In Zone 7, which displays color illustrations with their creation materials, Shimazaki remarked: “Seeing the color illustrations lined up, I felt Suzuki-sensei’s sense anew. The covers often feature large character faces, so I could appreciate the design and color usage. The costume designs also become clearer in color, and I enjoyed that.”
A special area showed photos of Suzuki’s workspace and his beloved items, including a mysterious black ball the size of a fist. Shimazaki explained: “Among the pens and rulers, there was a black ball. It turned out to be a ball of accumulated eraser shavings. Knowing that, I felt the heat of Suzuki-sensei’s trial and error—erasing, drawing, erasing again. That zone is photography-prohibited, so those who want to see the crystallization of that trial and error should visit the venue.”
Shimazaki also noted the early display of the Volume 28 cover featuring Yotsumura Shu: “It was casually placed as if it were natural, and I was surprised. I felt lucky.”
When asked about his favorite Shin display, he said: “Shin is not a character who wins with overwhelming strength; he grows step by step. That’s why each battle scene has its own highlights. The exhibition reproduces his famous scenes with powerful effects, and it was really cool and made me happy.”
He also recommended the official exhibition catalog: “It contains not only the displayed manuscripts but also behind-the-scenes production stories. It traces the history of Suzuki-sensei and his editor’s trial and error. For me, it’s the number one merchandise.”
Shimazaki concluded with a message to visitors: “This is a truly fun exhibition with incredible passion. Just seeing Suzuki-sensei’s large manuscripts is moving, and you can feel the love of many people. As someone involved in the anime, I realized how much SAKAMOTO DAYS is loved. From the exhibits to the way they are displayed, it’s a wonderful space created by people who love the work, gathering those who love it. Fans of SAKAMOTO DAYS will surely become happy. I guarantee the content, so please come to the venue.”
Exhibition Details
Tokyo Venue
Exhibition name: SAKAMOTO DAYS 展
Period: July 17 (Fri) – September 6 (Sun), 2026 (open every day)
Venue: Tokyo Dome City Gallery AaMo (1-3-61 Koraku, Bunkyo-ku, Tokyo)
Access: JR Suidobashi Station East Exit, Toei Mita Line Suidobashi Station A3 Exit, Tokyo Metro Marunouchi/Namboku Line Korakuen Station Exit 2
Opening hours: 10:00–19:00 (last entry 18:30)
Organizer: SAKAMOTO DAYS Exhibition Tokyo Executive Committee
Planning: SAKAMOTO DAYS Exhibition Project Committee
Planning cooperation: Weekly Shonen Jump Editorial Department
Sponsors: Kyodo Printing, eplus
* All-day date-specific admission system. Ends when tickets sell out.
* The exhibition is based on the manga and includes pre-anime information.
Nagoya Venue (Autumn 2026)
Period: October 3 (Sat) – November 23 (Mon, holiday), 2026 (open every day)
Venue: Telepia Hall (2F Telepia Building, 1-14-25 Higashi Sakura, Higashi-ku, Nagoya, Aichi)
Organizer: SAKAMOTO DAYS Exhibition Nagoya Executive Committee
Planning: SAKAMOTO DAYS Exhibition Project Committee
Planning cooperation: Weekly Shonen Jump Editorial Department
Sponsor: eplus
Production cooperation: Kyodo Printing
* Some content may differ between Tokyo and touring venues.
(C) Suzuki Yuuto / Shueisha
