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{{NoteTransclude|Cool Shock B.T.|Afterword|Translation}}

Cool Shock B.T. (Devil Boy B.T. in Japanese) was my first serialized work in a weekly magazine.

Serialization began sometime between a year and eighteen months after the first chapter's completion, mainly because the editorial department did not like the name of the pilot at all. At one point, the serialization was almost rejected outright. The title was the main reason. For a boys' manga, which are supposed to be all about justice, friendship, and victory, what was the author thinking when he titled it Devil Boy? Doesn't the word "devil" refer to Satan himself? Also, the name "B.T." sounds like a code word for something. It just keeps getting more and more esoteric. Even the content of the story, which sees the boy protagonist plotting to do evil, was completely unsuitable for Shonen Jump.

In fact, Mr. Kabashima, the editor-in-chief at the time, still says the following to this day: "I had a really hard time getting it serialized. Almost everyone in the editorial department was against it!"

That editor has a special talent to persuade people to do things... (This isn't related in any way, but one time he persuaded me to buy a waterbed, even though I really didn't want one. When I heard how he described it, I was completely brainwashed into thinking it was a good idea, and so I ended up getting one.) This work was so difficult to have serialized that even someone who could convince others that what's black is white would've had a hard time with it. But as the author, I felt relaxed and, well... somehow, I just felt like I could handle it.

Cool Shock B.T. pays homage to Sherlock Holmes, being a story about a boy who pretends to do evil with his intelligence and curiosity, yet values justice and friendship above all. I think the most difficult part was actually drawing it, because I had no idea how to draw in a way that would bring out my own style. Moreover, it took me nearly three weeks to draw a single chapter, and I had no idea how to use the black color of an ink pen on white paper back then. Fax machines hadn't become commonplace quite yet, so I had to use the copy machine at a friend's company. I would send each manuscript to the editorial office via courier service, which was just beginning to become popular, and then hold a brief meeting over the phone: "We need to revise the manuscript, so come to Tokyo and bring your tools with you!" The Tōhoku Shinkansen hadn't opened yet, so I had to take a four-hour express train to Tokyo to redraw the manuscript.

After finishing B.T., I had no choice but to move my workplace from my hometown in Sendai directly to Tokyo for the sake of Baoh the Visitor's serialization. The money I received from B.T. served as my war fund, so it really helped me out in the end. And the theme of B.T. as a Sherlock Holmes-like battle of wits, which I had dreamed of since childhood, developed into a more body-focused theme in Baoh the Visitor.