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Akira Toriyama created Dragon Ball and defined, across forty years, a visual grammar that comics and animation still use: absolute readability of silhouettes, a sense of weight in movement, humour and brutality in the same panel.

These archives owe him their subject. His credit sits at the top of the credits page, ahead of the rights holders and ahead of the studios: that is the order matching the reality of the work.

Card games have been part of the licence’s history since the 1980s, well before the fighting games. This new offer bets on shorter rules and faster games than previous systems.

These archives track this category under the “merchandise” label, without turning it into a shopping catalogue: only announcements that change something in the official landscape are covered.

The film makes two notable decisions: putting the two most neglected characters of the Super era on the front line, and bringing the Red Ribbon Army back through its research branch rather than its military bases.

That choice confirms a reading these archives argue in the cosmology section: the franchise’s real durable antagonist is not a person, it is an institution.

The film takes a figure introduced in 1993 in an out-of-continuity feature and rewrites it completely: new origin, new motive, and a long flashback to the fall of Planet Vegeta that feeds directly into the cosmology.

It is the textbook case of how the franchise works: a peripheral element becomes canonical when a new series needs it.

Dragon Ball Super picks the story up in the gap left by the end of Majin Buu and immediately widens the map: Gods of Destruction, angel attendants, twelve universes. This is the series that effectively settles the continuity question GT raised.

The God of Destruction Beerus saga, fourteen episodes, is documented in full in these archives: it is the Phase 1 reference saga for this series.