I never understood why Kishimoto was the only mangaka who couldn't get the romantic pairing he wanted, despite others in the same circumstances having succeeded. Kubo is the best example of this: Bleach was on the same studio as Naruto, and the fans wanted the protagonist to end up with someone else, but Kubo went with the pairing he wanted even though it went against the wishes of most fans.I thought about the reason and noticed that, between the years 2000 and 2010, female characters in shoujo who had pink hair or a transformation that turned their hair pink usually ended up with a black-haired character. The best examples of this are Tokyo Mew Mew and Shugo Chara!, both of which aired on TV Tokyo.I remembered that TV Tokyo changed the pairing dynamic of Blue Dragon, which in the game was practically a retelling of Naruto-Sakura-Sasuke, with hints of a Naruto and Sakura pairing. In the anime, the protagonist got a Hinata 2.0, the rival ended up with a random girl, and the heroine ended up with a Sai-like character who appeared in the second half. I have a feeling that if TV Tokyo did Slam Dunk, they would put Haruko with Rukawa and we wouldn't have the Haruko and Hanamichi wedding poster. And if they did a Kingdom Hearts adaptation, Kairi would end up with Riku.
Editors often try to get their writers to change something so it makes it feel like they had a part in the story. Most Mangaka just ignore any demand to change the pairings. Kishimoto was surrounded by people (anime staff, editors, and assistants) that were supporters of Hinata, and Hinata was "perceived to be" popular in the most important market for the series, The US. That pressure made Kishimoto yield and became an example to mangaka after why they should never do something like that to a vital part of their story.
In case it wasn't clear even from the get go, the entire series is an after thought in an attempt to squeeze out more money out of the franchise with Kishi showing no emotional investment in it's writing even before it started. Even the initial writer I feel did not want to do it as more than as a jumpstart to his career as a manga author if not artist at the same time before he does his own work. you don't feel any passion in the series even at its highest points. but that may be just me since I don't read it but I just read the summaries and obviously I don't glean anything from that alone but the summaries don't feel appealing enough compel me to read it either
That is quite accurate, reading it or their interviews you get the feeling that neither of them really wanted to work on Boruto. They saw it was an easy way to boost themselves, so they could do their own stories after working on Boruto for a couple of years. O course the backlash destroyed Naruto and they were required to do more than they were willing to make it successful, so instead it has damaged their prospects.
Kodiachi was just some random writer Shueisha had that did light novels for them. He did one of the post-endings Naruto novel and probably agree to be its writer, because Ikemoto didn't think he could handle the writing aspect, as well as working with the anime staff to keep the manga and anime consistent. He probably help form Boruto because he had his own issues with living in the shadow of his respected professor of a father. He also probably was the one behind Amando/Madoc, Clone Jiraiya, and probably was the one ensuring that Sarada was involved in each arc. He did not take the decresing finicanl support from the company like not having an editor after a certain point well. So his attitude caused him to lose his job.
Ikemoto was Kishimoto assistant for 15 years; he did the backgrounds. He was the one that agreed to take over the sequel so Kishi didn't have to do it. I suspect he is at least partially responsible for the ending; as he probably convinced Kishi to go with what he thought was popular. So he can have the most successful and easiest position. Of course it backfired. Kawaki/Nail is his character. He is obsessed with making the story what he perceives to be cool while not really putting in much effort. From I understand he has gain a rep as a lazy uncreative tracing hack that seems very very fond of young girls.
What I disagree with you on is that TV Tokyo was collaborating with Studio Pierrot to have that happen, not that Studio Pierrot has nothing to do with it. What happened to Blue Dragon is purely SP's initiative, because as they've shown us throughout Naruto/Boruto's run, they have established a notable precedent of bias when it comes to their depiction of assertive women vs non-confrontational, big-boobed fanservice. With Blue Dragon, they did more than rewrite the romantic dynamic of Kluke and Shu's relationship, they completely altered Kluke's character into a tsundere for no apparent reason and made her a healer instead of an offensive magic caster as she is the original canon of the games. Whereas with Bouquet, aside from her being an anime-original character created by Pierrot for fanservice and to be nothing but an obsessive love interest for Shu, her ability literally revolved around her getting butt-naked and then later on, she got the power to transform into whatever she sees (including a version of Kluke with a larger bust, which is SP's infantile way of saying "Shu doesn't need the real Kluke since our OC can become a better/sexier version of her if she wants to") and copy any Shadow power that she wants. You even have the villains of the series constantly commenting on how hot she was during the series' run. In other words, she was a complete Mary Sue.
Then you got Twin Star Exorcist, where they made Mayura (the soft-spoken, big-boobed childhood friend of Rokuro, the male protagonist) seem more important in the anime than she actually was in the manga, and even tried to suggest that Rokuro had feelings for her when he's completely oblivious to her and primarily focused on Benio in the source material. They even mildly attempted this in Black Clover's anime adaptation at first before they were shut down by Tabata, who's one of the few Japanese creators to openly confront and criticize any changes to an adaptation on social media.
Point that I'm making is that this is all SP's prerogative, where they take liberties to facilitate their own barely concealed fetishes when it comes to female characters.
They apparently did the same thing with Tokyo Ghoul. And damaged the story so bad that the mangaka had to reset the manga with a part two to try again, which they again screwed up that anime's part two, and then the mangaka had beg people to see the live action movie to show his story was good.
SP is the ones doing it as they are the ones making the anime that go against the manga's story. Tv Tokyo are the distributors their crime is only not putting their foot down and stopping it.