Yuki Wada has been editor of various publications in Japan for quite some time, working in a variety of titles. He has been creating novel platforms, a simple novel serialization application that provides readers with a variety of simple novels that are not available outside of Japan. Wada sat down with Ann to discuss his career in publishing, current projects and what he saw in the publishing industry.
How did you start your career as an editor? Editing what you’ve always wanted to do?
Yuki Wada: After graduating from university in 2001, I joined Shogakukan and assigned to Corocoro Comics As editor. In my 10 years Corocoro ComicsI’m engaged in Pokémon,,,,, Duel Masterand other titles, while also dealing with the original comics. Then I’m in Few Sundays per weekmainly engaged in sports comics. exist BranchesI worked for about seven years, of which five were the editor-in-chief, leading the team. Currently, I am a department focused on new business development in the Global Business Department, where I oversee projects such as XR content and new application development, which were formerly the field of traditional publishers.
Since my dad was a picture book editor, becoming an editor was not such an unusual career choice. However, there are significant differences even in the field of editing, fashion magazine editors, dictionary editors, literary editors, and comic editors. I didn’t specifically aim to be a comic editor, so I was surprised when I was assigned to the comics department! I have to learn everything from scratch.
Are editors’ roles very different between publications? For example, edit children’s magazines like Corocoro Instead of a venue like a wider audience Branches? Or is it just a case of “good writing is good writing?”
WADA: There are significant differences. exist Corocoro ComicsMany projects are based on actual games or toys, so it is crucial to maintain consistency and focus on creating trends. In terms of panel layout, it is necessary to clearly distinguish between strong and weak panels, thicken the outline of characters, and ensure eye contact. exist Branchesassume that the reader is more discerning and therefore pays more attention to the author’s creativity and personality. It is also essential to optimize the artwork on the swipe card and create cliffs that allow readers to want to read the next chapter. Furthermore, because the content can be shared on social media, efforts have been made to enhance the appeal of the story and stimulate curiosity.
Do you have a project you like, or have a title that stands out for you? Why or why not?
WADA: As for a project Branches It’s the best. At first, many in the company thought: “If we had people read many books that were sold for free in bookstores, we would lose sales!” No one said this, but the project was facing significant opposition at the time. We have achieved results, but I think it is possible due to the strong support of readers.
As for the work, I will choose a comic Promise Cinderella go through We have tachibana. Before adopting this comic, I saw the submitted manuscript and thought the comic was well drawn and had a good sense of fashion. When I asked her where she worked as a comic artist, she told me she was a newbie with no experience in comic artists. Together, we have improved the rough pages of this rejected manuscript several times. Promise Cinderella Finally become a very successful person. Branches There are various comics, such as Mob Psycho 100 and Kengan Ashurabut there are very few works for women, so I think it’s a step forward, which later led to a set of comic titles targeting women.
How has the world of publishing changed in your career? Do you feel that the increase in Internet literacy rates and the rise of applications on applications have significantly changed the landscape of comics and light novels?
WADA: The biggest change is that smartphones have become the main point of contact with novels and comics. This greatly reduces the media power of paper magazines. On the other hand, I believe that the brand is still very capable and has the potential to attract a larger audience. I think the biggest change is that this coverage is no longer limited to Japan, but extends to the rest of the world.
There is a great concern between readers and creators about the use of AI in written, illustrated and translated works. What do you think of this topic? Is there a place (digital or otherwise) where AI publishes, or areas that should be firmly away from?
WADA: It is often misunderstood, but I object to the idea of using AI for content creation. Content is created to evoke human emotions (Joey, anger, sadness, etc.) and move people in various ways. I believe that people’s thoughts and efforts to create valuable content are valuable.
On the other hand, AI already exists. Technology is irreversible – it’s just that we can’t get back into the car after the car is invented, or lock the phone after the smartphone appears or arrives at the letter before the email. It’s not a good thing or a bad problem. We need to face the “reality of creating content in the AI era”. There is also the possibility of abuse. I think we should actively consider how to leverage AI in a way that ensures that creators receive appropriate compensation, or how creators themselves can leverage AI to increase efficiency or explore new forms of expression. Otherwise, we will not be able to address negative aspects such as malicious behavior that steals creative works or the large number of low-quality imitations that produce existing content.
“Proper use of AI” is probably one of the most important topics for the next decade or so, and I can’t predict where it will guide. But if creators don’t explore the potential of AI, only the risks and anxiety associated with abuse will inevitably persist. My goal is to consider and propose ways to use AI that benefits creators and readers.
In your opinion, how do you think what you think is reading on a smartphone changes compared to a printed book or magazine? Do you feel that readers are unlikely to take a chance in a series with longer chapters, or are more likely to pick up a long-term series if published in a series of very short chapters?
WADA: I really feel that reading time has become very dispersed. For example, some people cannot sit in movies in theaters. Many of them are used to watching short 15-second videos one by one, so they can’t sit in a chair for 120 minutes to watch a movie.
On the other hand, I believe the total reading has actually increased. Many people use their pouches to read comics quickly (such as before commuting or sleeping). But long chapter novels may stop people as they can see the total amount of content waiting for them to even begin. When you know there are 10 seasons, this is the same as the drama series that started watching the first episode. However, once you start watching, there are smaller story units in the series, so having unread stories of favorite stories can be an advantage. Therefore, creators and authors do not need to be overly serious. If it is popular, it will continue and will naturally get longer!
On the other hand, those who provide apps and other platforms need to work hard to reduce the psychological barriers for readers.
Is there more or less pressure from writers in an online-based publication environment? As an editor, how will you deal with this stress?
WADA: In fact, it is difficult to include elements that make the reader want to read the next episode in each chapter. This is not only something the creator himself should consider. Instead, it’s about how editors support them, and that’s where their skills come into play, and some people might find this heavy person, but in reality, it’s the area where you can make the most difference.
What do you think about the growing popularity of light novels/online programs in foreign languages? What are the applications like novel applications that help other languages discover and read lighting novels? Why should readers choose novel apps over other apps?
WADA: The welcome development for creators is that their work can be seen by as many people as possible, no matter their location. Traditionally, this would require licensing agreements with foreign companies, or readers would need to learn Japanese extensively to read novels and comics in the original language. However, by having the original licensors provide them through the application, access has been greatly reduced.
Most novel novels and comics are only sold in Japan. If you don’t choose this app, you will never encounter these works in your life. Even if you’ve been using other apps, make sure to download the app!
Do you think there is any type you are more popular than the others among English readers (or generally)? Is it consistent with something that Japanese readers prefer?
WADA: Through works well-known in the past animation, e.g. Become a two-tail! ! Very popular. Of course, these works are also very popular in Japan, but they are not the latest version. I think as light novels become more well-known, people will be able to enjoy discovery that will be adapted into anime or other media faster.
Do you want any projects in the future? Where did you see the publication appear from here?
WADA: It’s still a secret, but…let me give you a little tip. We plan to publish works that can only be done by companies that are directly connected to the creator. We also plan to provide the latest novels and comics with minimal time lag.
