Disclaimer: This article is expressed with full politically neutrality and is simply reporting the ongoing issues in Japan

Kadokawa is one of the most well known Manga publishers in Japan. The publishing giants are known for publishing well known manga and light novel hits like The Melancholy of Haruhi Suzumiya, Konosuba, and recently, Alya Sometimes Hides Her Feelings in Russian. Kadokawa has also published countless other pieces of media that involves anime and manga.

Lately, the company has been rocked with ownership change. Specifically with Sony, that has left many anime and manga fans including myself on the edge. Especially since Sony has been under hot water lately with some controversial decisions by the higher ups. Ranging from corporate greed, controversial hiring, changes, and the fears of inserting progressively themed concepts that have plagued western entertainment lately. The trend that has many audiences fatigued and tired.

Now, however, it seems like Kadokawa is about to do something even more controversial. This time, it involves their manga. The topic of globalization in Japan has been a very spicy one lately. With numerous intense debates in regard to Japanese identity and its differences with foreign influence. Some believe and want Japan to be Japan and must remain Japanese, while others saying it’s time for Japan to embrace foreign coexistence. This, ironically, relates to what Kadokawa is about to do and how this issue will cause a massive division for manga fans. The question is, should we be worried?

According to a report from Automation Media. Kadokawa, during the announcement of the results of their Wordless World Manga Contest, which features over 1,000 entries from 100 different countries, members of Kadokawa’s overseas manga editorial team are aiming for worldwide expansion and “emphasized the necessity of broadening the talent pool of manga authors in Japan and overseas.” according to a recent interview by members of Kadokawa’s overseas manga editorial team from Oricon News.

Risa Tomisaki, a member of Kadokawa’s Global Digital Book Office and Overseas Manga Editorial Department. Said in an interview:

“Due to the popularization of digital comics in recent years, the number of supply points for manga has drastically increased compared to the past. However, there aren’t enough manga artists to meet the demands of the market, and our editorial teams have urgently taken on the task of scouting talented newcomers,” – Risa Tomisaki

The Worldless World Manga Contest is a contest to promote Japanese manga and discover up-and-coming manga artists from all over the globe.

Noboru Segawa. Who is Kadokawa’s IP executive producer and known for heading multiple departments related to overseas manga. He stated that there is a particular shortage happening in the manga industry. Specifically involving the sphere of shortages in manga light novel, and book adaptations. Interestingly, specifically the isekai genre. According to one of his statements, he states that there are “overwhelmingly” not enough manga artists that could make the adaptations, and many companies are trying to compete to secure talented manga artists. Segawa remarks by saying:

“just joining the competition to secure talent won’t solve the fundamental issue of workforce shortage, as it doesn’t contribute to expanding the talent pool. Devising ways to discover and nurture popular authors is a crucial mission for our manga editors.” – Noboru Segawa

Segawa also noted that’s the reason for Kawokawa’s decision to explore “the wide sea of overseas manga artists” and to search for future talent.

Segawa also noted about Japan’s declining birth rates across the country as Japan grapples with an aging population. According to recent reports, Japan’s population declined by 900,000 recently. Segawa stated that it will become increasingly difficult to create work aimed at younger audiences free from commercial perspective. He does, however, believe that there is potential for such works to succeed in areas with greater population of young people. Most notably, in countries from Southeast Asia. This statement reinforces his belief that “The starting point for the works of upcoming manga artists doesn’t necessarily have to be in Japan.”

Previously, in relation to this article’s topic, Kadokawa’s anime branch recently announced plans to raise the production value of their anime and further expand into the global market. The joke quote for their staff members to be able to “able to afford a Benz”. A Kadokawa official stated that “The industry as a whole must raise the production budget and earn money via the global market,”. The countries listed were countries typically known for numerous working in the workforce, like Mexico, Brazil, and India. The countries listed are considered examples for potential candidates to expand the anime industry.

So… The question is? What will happen next? Well, naturally, it’s okay to be very worried about this issue. Why? Well, let’s be completely honest here. We love manga for not only being good entertainment, but for the fact that it’s built on authentic Japanese creation. Well known manga series that hold Japanese charm, like One Piece, Dragon Ball, Doraemon, and Astro Boy are well-beloved not only in Japan, but around the world not only because they were good, but it bought a cultural identity for a product of entertainment directly from Japan. When we see manga, the first we see and say, “oh look, more Japanese stuff!” While it’s true that manga is basically Japanese comics, we can’t deny that coming directly from Japan is what makes manga so unique. Think of it this way. In fact, manga and anime is what made me fall in love with Japan and Japanese culture.

Similar to how when one thinks of comics like Superman, Batman, or Spider-Man, people will automatically know they are considered cultural American icons because their legacy and base is built on American exceptionalism. It’s the same for British entertainment icons like Harry Potter, James Bond, and Sherlock, as they are based on British cultural excellence. Most recently, Korean dramas and Manhwas are another prime example of Korean cultural authenticity. Finally, the last could be said for Latin American soap operas, (also known as Novelas). All of these mentioned are prime examples of cultural identity that not only rocks the world, but represents a nation and what they offer.

But now here comes the other question? Will this succeed? Will this actually work? Will manga and light novel products from internationally and overseas really work? Well, in order for this to happen, we first have to remember how punishing and homogeneous the manga industry is. The truth is, believe or not, but the manga industry in Japan has a unique history of foreign manga in the country. In fact, if you ever heard of the Kyoto International Manga Museum, I’m sure you already know they host events celebrating and showcasing manga created by foreign talent. Which is really awesome. Actually fun fact, when I wanted to become a manga artist before changing paths, I wanted to have my manga shown over there. Here’s another unique story. If you ever heard of Kyoto Sekai University, that university is known to teach foreign artists the basis of successfully drawing manga the professional way. Cool Japan literally held a quick documentary about those two mentioned before.

The truth is, there is nothing wrong with foreign manga as long as it’s done right. Now, however, keep in mind that I 100% agree that manga should always remain Japanese and never lose its cultural identity, for that’s what made manga attractive for us readers in the first place. From cultural differences, to different beliefs, and in another country. Through the perspective of Japanese people for all different genres. Nothing more fun than our foreign shock of reactions from whatever amazing stuff that these mangaka’s would bring to their series.

At the same time, I don’t really find any problem with foreigners making their own manga series. I mean, sure, we are all dead worried about the current issue of entertainment going on globally. Specifically, what’s going on in the west. From reboots, bad sequels, progressively overused themes, aka, woke/D.E.I material inserted 24/7 into entertainment, series with poor quality, and generally, unattractive stuff riled by the bankruptcy of creativity, its no surprise at all that we are scared to death with hoping that anime and manga doesn’t suffer a similar fate. In my opinion though, as long as the series is good, it doesn’t matter right? Now, of course, like many, I will simply view them as foreign manga rather than manga directly from Japan. Now, why do I mention this? Well, this is when the kicker happens.

First, the manga industry is atrociously punishing. In order for your manga to succeed, you literally need to make sure it’s a hit. If it’s not, then it will be canceled without mercy. If you ever watched or read Bakuman, it’s explained over and over again in the series how manga is more of a gamble than something of personally enjoyment if one doesn’t find success. Also, it’s not just the serialization that’s the issue. Other problems include studios and companies willing to gamble and sponsor foreign manga. Risking financial losses if it doesn’t reach out to the Japanese audiences. Why do I say this? Because few foreign source materials adapted into anime are rarely met with successful reception. Things will get a lot worse if Japanese audiences reject it. Another issue is how exactly will the advertising work? Will it penetrate not only the publication, but the anime studios themselves too? Will it enjoy a Demon Slayer or Dadadan styled explosion of popularity? We know how vulnerable and fragile anime and manga companies are. If something doesn’t succeed, then they will lose profits, and worst of all, go out of business. Look what happened to famous companies like Gainax, Manglobe, and Artland? Yes, the manga industry is more richer, but either way, neither side is willing to take major risks if the market doesn’t align with their profits. Why do you think Weekly Shonen Jump is always axing series 24/7? If it’s not a yen seller, then forget about it. Not only that, but, we also have to ask the fandom this?

Websites like MyAnimeList, Anilist, and Anime Planet don’t add anime and manga not made in Japan. Even anime lookalikes that are popular among western audiences still get rejected to be added to their databases. The thing is, the community follows suit. This is a stark comparison to how most of the Japanese audiences feel when they see something foreign that’s not of Japanese anime and manga. Especially those within the hardcore otaku hemisphere. If foreign manga will always be viewed as the tasteless fruits in the basket, then it could become a huge problem for not only foreign talent, but the companies investing this themselves. This issue can in fact, discourage many from even trying this out. At the end of the day, if a manga, especially if it’s foreign, doesn’t get the same acclaimed reception that needs, then its basically dead on arrival.

Another issue that foreign manga will have to confront is the modern day themes, tropes, and genres that pleases the modern day watcher. Lets be honest here, genres like isekai, harem, and all hardcore otaku stuff that makes the viewer happy, are basically mandatory to the maximum. If foreign manga lacks these elements or replicates them but in a low quality manner, then its going to suffer big time from domestic competition. Remember, even though there are masterpieces, manga, and the anime industry too, are still a business and need to rack up yen printing series in order to stay a float. Even if its done the right way and can rival the Japanese authentic way of doing it, it doesn’t change the fact that foreign manga may have to confront yet another issue, and its arguably the hardest one.

The rise of anti foreign sentiment in Japan has gone pretty haywire recently. Political tensions ranging from national interests, to global interests, and the recent wave of disrespectful tourism by foreigners and controversial immigration policies enacted by the Japanese government. All of these issues raise a glaring concern if foreign manga artists will feel comfortable or not gambling on an issue that could potentially see their talented works (if done right), rejected all in the name of recent issues going in Japan. Lately, Japan has been in the crossroads with stark tension over the nations identity. Some Japanese feel like they are losing their country to globalist interests. While others feel like Japan is too closed and needs to embrace an international model. With the issue getting worse, I honestly don’t know how exactly Japanese people will react to foreign manga on sale or if there will be interest for it in the first place. In fact, my fear is if the word foreign is said, chances are, a negative reaction could happen, and the worst possibility is, I won’t know what will happen next. Now, at the same time, there could also be a positive reaction too. The problem is, there is a saying in Japan. “Once a foreigner, always a foreigner’. What do I mean? Simple, no matter how experienced you are with Japan, you will always be second to the Japanese. It hurts, but one gets use to it, and at the same time, can you really blame them…?

These are issues that fly right through my head when it comes to this topic. I noticed that a lot of people are dooming, and fear that manga, and anime too, will become a tasteless wasteland of bad produced entertainment like those of Disney, and etc. The truth is, while I do understand your fear, we also have to take in to account on how this will work as well. The anime and manga industry had long been experimenting on foreign produced workers for a while now. In fact, this was said by one of Fullmetal Alchemist Brotherhood’s producer in 2017 from Studio Bones when he noticed that a majority of anime studio jobs are shipped overseas. At the same time, the industry still profits from overseas markets, and lately, many of these big name producers of the industry talk about changing the industry for, reason 1, 2, and 3, yet, nothing happens. In 2017, during John’s Only in Japan video when he toured Weekly Shonen Jump’s building, one of the staff members literally said they had manga artists working for them directly from China and South Korea. So, the truth is, this isn’t really new to be honest. Also, another thing I remember was during a BBC documentary for manga in 1994 when one British manga artist was literally working for a Japanese publishing company. With his own unique art style. So in the end, nothing has changed really. i’ve seen countless stories of foreign manga artists working in the industry and having their own series published. From here in America, to the United Kingdom, the Philippines, and Mexico. I know I’m talking about the anime industry at the moment, but, I believe it will be the same for manga. I also believe that Kadokawa is doing this mainly for gimmick reason rather than something to be fully invested into. In fact,

I believe Kadokawa is only doing this to earn themselves extras yen for their profits. Lets be honest, their reasons are silly and it really doesn’t make any sense because they know fully well that too many anime and manga are either produced or published in large numbers. Heck, last year, and this year saw another historical levels of produced anime and published manga. The thing is, it’s so annoying because the amount is so much that you literally don’t have time to watch or read all of it.

Now, when it comes to the fear of low quality manga that replicates the terribleness of Disney or D.C and Marvel, do you really think it will continue publishing? If we literally see manga with potential that get axed already, then how will these poor foreign quality manga succeed then? We KNOW how PUNISHING and gruesome the manga industry is, ranging from bad sleep, bad diet, poor health, and near death experience all just to publish a poorly made quality manga that could get axed quicker than anything else in this world. We obviously know what’s going to happen right?

I understand that most of you are concerned, and so was I, but, after logically thinking on how this will work, we have to ask ourselves this question? With all of that mentioned before, do you really think this will work? I personally don’t believe it. I don’t see anything wrong with foreigners making manga. Heck, I look forward to it. The only thing is, I’ll always view it as foreign manga that doesn’t really touch the basis of what defines my Japanese manga world. This doesn’t mean I’m going to rudely reject it. That’s just how my otaku world works. Literally since 2011. A lot of people talk about this topic with a lot of doom, but, instead, I wanted a tone that involved enlightenment and factual reasoning rather then telling my viewers that Konosuba is going to become Disney 2.0 without providing the industry basis and logic. Now, don’t get the wrong idea. You still have to keep a close eye, but, in all honesty… I’m not even darn worried at all… We will still get our juggernauts, and wait excited for the newest manga coming out from Kadokawa.

Thank you for reading! Please give me your opinions and don’t forget to like, follow, and share. Thank you!

Sources: Automation Media, Oricon