An interview with the KADOKAWA TATESC COMICS editor-in-chief about what people expect from webtoons - While webtoons are great for global expansion, it’s still too early to compare them to traditional manga.

Vertical-scrolling manga has gained considerable attention in recent years. Notable examples include the popular webtoon Solo Leveling (published by KADOKAWA) being adapted into an anime series and video game, as well as major publishers releasing their own vertical reading apps. Here on pixivision, we’ve explored the ever-developing world of webtoons through various interviews with webtoon creators, editors, and production studios.

＞＞Past webtoon-related articles＜＜

In this feature, we decided to do a deep dive into the behind-the-scenes of webtoons by interviewing the KADOKAWA TATESC COMICS Editorial Department. We asked the editor-in-chief, Satoshi Banno, about the editorial department’s role within a publishing company and how it differs from a studio specializing in webtoons, KADOKAWA’s webtoon strategy, the future of the industry, and the types of works they are looking for.

Banno: Pretty much. At the time, most publishers were probably aware that webtoons were becoming mainstream in South Korea, but they had yet to make the leap to expand into that market. In our case, we had two main reasons for entering the webtoon market, the first being that it was a new type of media. The other reason was that when we studied the main genres of webtoons, they seemed highly compatible with the light novels and other works that KADOKAWA had published in the past. Due to these reasons, we decided to give the webtoon market a shot.

Banno: Additionally, being a publishing company has its unique advantages. Whereas the main goal of webtoon production studios is to provide original works to webtoon sites, our company is not only able to produce original works but also convert existing comics into vertical-scrolling format or turn existing IPs such as games into webtoons. Our corporate culture is such that we want to create an ecosystem through multimedia franchises rather than simply publishing each work individually.

Banno: Considering how many manga adaptations we’ve done, it seemed highly doable. In the long run, we also plan on expanding our business globally. While our current focus is on the domestic market, there’s no denying that the Japanese population will shrink in the future, and with that, the domestic market as well. In contrast, the global market is still experiencing significant growth, and we believe that webtoons have the potential to expand into overseas markets such as China, South Korea, the U.S., and France. I consider this project of trying out new ways of doing things in addition to what we can currently do as an investment for the future.

Banno: From the very beginning, we sensed that there were very high expectations for us. In terms of adapting existing works to the vertical-scrolling format, we have been able to adapt series such as Bloom Into You and Bungo Stray Dogs, as well as isekai manga such as The World’s Finest Assassin Gets Reincarnated in Another World as an Aristocrat, with the permission of the original authors and the cooperation of their respective editors.

Banno: Not particularly. It also helps that many people in this industry are curious about and like new things. (laughs) This year marks the fourth annual TATESC COMICS Awards for up-and-coming authors, and all KADOKAWA manga editors take part in the selection process. While the author’s wishes and preferences come first, we often have multiple editors fighting over who they want to represent, and the judging rounds are always filled with lively discussions.

Banno: Although we have nearly 30 editorial departments for manga and comics at KADOKAWA, our webtoons are created cross-departmentally. Currently, there are about 200 works under the KADOKAWA TATESC COMICS imprint, of which roughly 120 are webtoon adaptations of existing works. The remaining 80 or so are originals; almost half of those are produced by other editorial departments, such as the Monthly Comic Flapper editorial department and the Dengeki G’s Magazine editorial department. We are incredibly grateful for the cooperation of other departments and the fact that we are able to do various things as a company as a whole.

Banno: Admittedly, this is something that has required quite a bit of trial and error. We have very different approaches when it comes to adapting an existing manga into a vertical format versus creating a vertical-scrolling one from scratch. In the case of the former, we focus on incorporating what the author wanted to express into the vertical format; for the latter, we make sure to check what the manga looks like on a smartphone screen throughout the creation process and incessantly analyze whether it’s easy to read. Unlike manga in print format, we don’t have many concrete guidelines or proven methods for effective adaptation yet, so I feel that we are still in the process of developing a proper system.

Banno: Definitely. When that happens, we do our best to make adjustments, but in most cases, the authors respond positively with comments such as, “Oh, I never thought of doing it that way!” and “That’s interesting.” I believe this is a sign that we’re gradually accumulating expertise in making things easier to read.

Banno: When colorizing existing black-and-white works, simply adding color isn’t enough in many cases since the artist didn’t intend their work to be in color in the first place. Sometimes, we have color panels that were never intended to be drawn in full color, which can be a particular struggle; in such cases, we go through many drafts to fine-tune each panel until they align with the vision we have in mind. Because we outsource the coloring process to other companies, it’s imperative for us to have a color chart for each character when creating an original work from scratch.

Banno: At KADOKAWA, we can handle both ways of working: the conventional approach, where an individual manga artist works alone, or the method you mentioned, which divides the labor among different people. In a sense, I think this is the main advantage of KADOKAWA’s TATESC COMICS Editorial Department. We have a wide range of authors working with us: some will do everything themselves, from the rough draft to the coloring process, while others are busy with their day jobs and only create the rough draft or do the illustrations.

Banno: That’s exactly it. Whereas some authors give detailed instructions on the coloring process and digital effects, some are pleased that they can create something interesting and unexpected by leaving the work to a professional. I think that’s what makes each creator unique, and it’s important to have a variety of choices.

Banno: That’s right. I’ve said this many times to different people, but I want our editorial department to be the friendliest team an up-and-coming artist can have. There are no right or wrong answers in the webtoon industry as of now, so it’s a field where artists can freely express themselves without having to worry about playing by the book. At the same time, they can still take advantage of those strengths if they’re overwhelmingly talented at drawing or crafting compelling stories—strengths that are prized in the traditional manga world. In that sense, I think now is an excellent time for various creators to work with our department.

Banno: When it comes to webtoons, however, there isn’t really a concept of page numbers. To offer an extreme example, a scene that would only require one page in print could take up as many as ten pages in webtoon format if you were to use all the available space. As an industry, we have yet to come to a consensus on how to calculate webtoon pages. The most commonly used alternative is to count the number of panels instead. It depends on the artist, but we tend to calculate the manuscript fee per frame or story.

Banno: This is why we try to avoid scrutinizing the number of panels for such artists. All I can say is that it ultimately differs from case to case. (laughs) If it makes sense to count an author’s work by the number of panels, we’ll use that as criteria; otherwise, we might use a different method to calculate rates, such as per story.

Banno: In the case of our editorial department, the previous editor-in-chief and I often discussed how there shouldn’t be a stark difference in manuscript rates for physical manga copies and webtoons. We want our artists to be able to work on their manuscripts with a sense of security, so we set rates accordingly that will allow them to do so. To put it bluntly, however, whether the work sells or not is the part that makes the most difference, so it’s not really about the format—none of that matters once a series becomes a hit. (laughs)

Banno: You’re right about that. According to the predictions made in 2022, the market should have expanded more by now. Unfortunately, it takes years to create a new product from scratch, so I believe we’ll finally start to reap the benefits of our efforts made in 2022 and 2023 this year. I think 2024 will be a turning point, and it seems that many people in the industry see it that way too.

Banno: Precisely. For example, while Piccoma and LINE Manga still have the largest market share in the industry, Jump TOON recently released their own app on May 29th this year. In the past three years that we’ve held the TATESC COMICS Awards, we’ve seen a real increase in the number of webtoon artists. Not only is the number of entries increasing, but their quality and quantity are also improving.

Kishida (pixiv employee): Sorry to interrupt the conversation. I just wanted to add that pixiv has also been seeing an increase in the number of vertical-scrolling manga posts, and the quality of the works is steadily improving. It seems that the webtoon genre is gradually maturing as a whole, and I think artists are becoming more interested in this new form of expression and hoping to attract a new readership outside of Japan.

Banno: I believe that the structure of the industry could change drastically either this year or the next, as many of the new studios that have been popping up in Japan in recent years are expected to release their works to the market soon.

Banno: One concern is that at present, the number of popular genres within webtoons is extremely limited, and webtoon readership seems to be made up solely of people who enjoy only those genres. Essentially, I feel like we aren’t reaching potential readers beyond those boundaries. I think it’s the KADOKAWA TATESC COMICS Editorial Department’s mission to come up with new genres, and that is precisely what we are trying to do along with Jump TOON, Japanese production studios, and, of course, webtoon artists.

Banno: I wholeheartedly agree. I used to say, “The webtoon world lacks someone like Osamu Tezuka,” pretty often, although I’m too embarrassed to say that nowadays. (laughs) Still, I’d like to create a cycle where a famous artist is born and creates a hit, which attracts more people who’ll go on to create more famous works. To that end, I’d like to see as many creators as possible make their debut through the TATESC COMICS Awards and other means.

The 4th TATESC COMICS Awards are currently accepting entries until Sunday, September 1st, 2024.

Applicants can choose from three categories: Manga For Women, Manga For Men, and General. Any theme, setting, or genre is valid regardless of the category. If you are unsure about which category your submission falls under, simply choose General.

★ Participant Benefits★

- Anyone may apply regardless of their experience, age, or gender. We accept team and corporate applicants as well!

- The Grand Prize winner will receive 3 million yen and be guaranteed serialization in Japan!

- There are no restrictions on genre, so feel free to submit as many works as you like!

In addition to the KADOKAWA TATESC Comics Editorial Department, all 30+ manga editorial departments at KADOKAWA will participate in the screening process, so there is a strong possibility that you will be approached by an editorial department that is a good fit for your work!

The application deadline is September 1st, 2024, at 11:59 pm JST.

Check out the contest page below for more details about the application rules and eligibility. (Available in Japanese only)

＞＞TATESC COMICS Awards page＜＜

We provide easy-to-follow lecture videos, storyboard templates, and more to help you get started with webtoon creation. It’s all free, so take advantage and check it out! (Available in Japanese only)

＞＞ pixiv’s Tateyomi School＜＜