After this series jumped from around seventeenth in the reader rankings to third and going to the Shogakukan archives to study classic manga, he finally became interested in his job.

He though it was beautiful and funny, but it was ineligible to compete because it was a parody, so Torishima sent the artist a telegram and encouraged him to keep drawing and sending him manga.

[6] It was one of the main reasons for Weekly Shōnen Jump's circulation hitting a record high of 6.53 million copies (1995),[8] and became Shueisha's second best-selling manga series of all time.

[1] He believed the reason for its deficiency was due to no one at Weekly Shōnen Jump knowing how to manage an anime adaptation based on one of their manga as this was "the first real time" it had been done.

[1] When it came time to adapt Dragon Ball, he and the Jump team had a huge "bible" created for the series before production even started on the anime, and were much more hands on.

[5][12] He cited Makoto Isshiki as the most difficult manga artist he has worked worth, explaining that she wanted to end Hanattare Boogie (1986) as soon as he told her it had been approved for serialization.

"[13] He would often visit a store in Shinjuku that had playtests for new games with his friend Akira Sakuma, a writer who worked for Seventeen and whom Torishima met after he asked to interview Toriyama for Weekly Playboy.

[2] When his manager told him to figure out why Shogakukan's CoroCoro Comic was doing so well, Torishima determined it was because of the sealed pages that had to be cut open to reveal cheats and tips for video games.

[2] Its title was derived from the Family Computer gaming system, which is abbreviated to "Famicom", and Hokuto Shinken, a martial art from Jump's own Fist of the North Star.

[15] Torishima claimed that he purposefully had Enix fully fund the game, intentionally keeping Shueisha out of the decision making process not only for the good of the product, but also because it would have cut into Toriyama's share of the profits.

Believing Shueisha was incapable of this because they lacked the experience and personal connections Shogakukan had, Torishima claims to have purposefully chosen a theme he knew would be unpopular for its third issue.

[13] Torishima's plan was to return to the magazine's roots which its first editor-in-chief had set; new serializations by new authors, working together with editors to create, and reader surveys.

[2][12] He also cut all of the veteran artists and increased the competitive principle amongst the editors by giving them more freedom, but firing any who failed to produce hit series.

[12] According to sociologist Atsuo Nakayama, a change to the Weekly Shōnen Jump readership also occurred due to new works such as Hoshin Engi and The Prince of Tennis targeting women.

[22] In December 2010, he spoke at the New Manga Creators Awards in response to the Tokyo Metropolitan Ordinance Regarding the Healthy Development of Youths's controversial passing of the industry opposed Bill 156.

Secondly, because the restrictions would only apply to manga and anime, he viewed the bill as discriminating against those specific mediums while ignoring content from films or novels; noting how Ishihara was formerly a novelist himself.

[31][32] Torishima has co-hosted the Yūbō & Mashirito no KosoKoso Hōsōkyoku (ゆう坊&マシリトのKosoKoso放送局) segment of the Tokyo M.A.A.D Spin radio program on J-Wave with Horii since July 31, 2023.

[35] He stated an important part of being an editor is to have a lot of different conversations with the authors to discover their potential points of interest; "Artists really open up and talk when it's not their own work they're dissecting."

[13] Through the trials and errors he went through with Toriyama leading up to the creation of Dr. Slump, Torishima said he inadvertently developed something akin to a training method for new artists.

[4] Torishima explained, "The speech balloons in manga can fit about three, seven-character-long lines of colloquial Japanese, and these are exchanged back and forth via dialogue between characters.

[13] However, he stated the print industry still has higher-quality works because most digital manga has the same problem as doujinshi; it is whatever the author wants to draw and lacks the quality-check provided by an editor.

[13] Torishima believes the only way forward is for editors to take on more responsibilities and be hired as free agents by publishing houses, who will pay more to those who produce hits and release those who do not.

[13] Another issue Torishima sees with digital distribution is that while famous titles and those created by well-known authors are easy to find and sell well, new works by new artists do not get noticed.

[34] Torishima received a Special Achievement Award at the 2022 Japan Media Arts Festival for his work in manga, including the discovering of Toriyama and establishing the now "indispensable cross-media production method".

[35] As a rookie editor, Torishima was put in charge of Doberman Deka, which had already been chosen to end in a few months due to low rankings in the reader surveys.

[1] Torishima convinced Toriyama to make Arale the main character of Dr. Slump instead of Senbei Norimaki, which the author agrees turned out better.

[40] Toriyama stated that Torishima enjoys romance and that the relationships of Arale and Obotchaman, Akane and Tsukutsun, and Taro and Tsururin in Dr. Slump were all his ideas.

[42] It was Torishima who brought Tetsuo Hara the offer from Capcom to create the character designs for the video game Saturday Night Slam Masters.

The most notable being the character Dr. Mashirito in Toriyama's Dr. Slump, who serves as the series' most prominent antagonist and has the same name as the editor but with the syllables reversed.

[6] He also inspired other manga characters such as Dokuō Mashirito in Hiroshi Motomiya's Yabure Kabure,[44] Matoriv in Dragon Quest: The Adventure of Dai,[45] Torishiman in Tottemo!