Webtoon label Pikalo's vision for creating memorable works - Bringing the passion of solo creators into team-based vertical webtoon production.
Interview by Kyu Nakanishi
Pikalo is a brand new webtoon label launched through a collaboration between pixiv Inc. (hereinafter referred to as "pixiv"), webtoon production company LOCKER ROOM, and publisher KADOKAWA. The label's inaugural series, Nee, Wasurete Ii Yo, was released in August, with more new titles set to follow.
We spoke to Yuta Asaoka and Nanami Fujimoto from the Pikalo editorial team about their reasons for starting this new label and what makes Pikalo so appealing to creators. Their focus on valuing the passion of solo creators and creating memorable works was a key part of this interview.
Index
- Creating works that leave a lasting memory rather than chasing numbers
- The most important thing is the passion behind the work
- A chat with Pikalo creators
- If you’re not enjoying your work, what’s the point?
- The need to create iconic titles
- Pikalo is recruiting webtoon creators!
- pixiv Inc. brings you the latest vertical manga news!
Creating works that leave a lasting memory rather than chasing numbers
── Pikalo is a collaboration between pixiv, LOCKER ROOM, the webtoon production company you lead, and KADOKAWA. How did this project come together?
── What was the common ground that LOCKER ROOM found with pixiv?
── Pikalo was launched with the clear goal of establishing webtoons as a lasting cultural presence in Japan, right?
── I see.
── It's only natural for creators to want their work published on platforms they look up to.
Asaoka: As for "doing what no one else is doing," no other label has explicitly stated that it will publish all of its works in paperback format, and we also have a system in place that allows us to handle voice dramas and short drama adaptations completely in-house. Through these efforts, we aim to become a label that appeals to creators.
── It must be really satisfying for creators to see their works turned into physical books, and this is only possible because you're leveraging the strengths of all three companies.
── I've heard that the label plans to focus on genres that are especially popular among women, like BL.
── Was the original focus on women's genres meant to set you apart from the other labels out there?
The most important thing is the passion behind the work
── Pikalo's job listings are unique in that they have separate categories for "solo creators" and "specialized creators," and people can apply to either.
Fujimoto: I wrote the original concept and script, then passed it on to a storyboard artist to create the storyboards. From there, it went to the person in charge of the line art, and so on.
── Given the amount of work involved in producing full-color weekly chapters, that makes sense… What inspired the creation of Nee, Wasurete Ii Yo?
── Once the project moves beyond the storyboard phase and other creators are involved, do suggestions ever come up, like wanting to change a line or the general drawing direction?
Asaoka: That also ties back to the idea that the creators should enjoy doing what they do.
── Among the creators currently working with Pikalo, what's the ratio of solo creators to those working in teams?
Fujimoto: In terms of applicants, we receive more for the specialized positions. There are simply more people who specialize in things like "just coloring" or "just backgrounds" compared to those who can handle everything from storytelling to drawing and finishing.
── Do you find yourself thinking, "I wish we had more solo creators"?
── For example, could there be cases where someone handles everything up to the line art, and then the rest, like coloring, is done by a team?
Fujimoto: That's possible, but in the end, it’s pretty close to a full division-of-labor setup, so it wouldn’t be much different.
A chat with Pikalo creators
── We asked the two creators behind Nee, Wasurete Ii Yo about their experiences working with Pikalo.
Finishing touches: Nagase
Nagase was responsible for the finishing touches in Nee, Wasurete Ii Yo. This is their first commercial project.
X account: https://x.com/naga7992
Q1. What led you to join Pikalo?
A. I've always loved reading webtoons and drawing, so I started looking into ways to turn those interests into a career. That’s when I came across a Pikalo ad recruiting creators, and I was immediately interested, so I applied.
Q2. How has your experience been so far?
A. Since this is my first webtoon job, I don't have much to compare it to, but I’ve found it really easy to understand the atmosphere we’re aiming for during the finishing stages. Right from the beginning, the team shared the direction of the project with me—what kind of vibe, style, and elements we should focus on. That guidance has been incredibly helpful, especially when I’m unsure about something during the finishing process.
Q3. What's your favorite scene in Nee, Wasurete Ii Yo?
A. Personally, I really loved the school festival scenes. There’s this great moment when Kazuki drags a frightened Kihito through the haunted house, and later they perform together at the after-party. It’s such a bright, youthful part of the story, and working on those scenes made me feel really happy. Seeing them enjoy the festival made the finishing touches even more fun to work on.
If you’re not enjoying your work, what’s the point?
── Let's go back to the interview. What is the process like for creators who apply to Pikalo before they actually take on a project?
Fujimoto: The process differs slightly between specialized and solo creators. For specialized roles, we ask applicants to submit a portfolio. Based on that, we assess their technical skill and suitability for certain genres. If there's a spot available in a project, we reach out to them. Before formally assigning a project, we typically have them do a trial run—about half the workload of a single episode—to see if their style fits the project.It's not just about our perspective—we also consider whether the creator feels the project is a good fit for them. Once both sides agree, we move forward with a formal assignment.
── I see. So creators can express their preferences for the types of projects they want to work on.
── It’s true that sometimes it’s better to focus on something you’re good at, even if it’s not your favorite, rather than struggle with something you love but might not be suited for.
Fujimoto: Exactly. It really depends on what the creator prioritizes.
── What about solo creators?
Fujimoto: For solo creators, a producer usually reaches out to someone they want to collaborate with. Together, they develop a project, which is then presented at an editorial planning meeting.
── It sounds pretty similar to the traditional process of submitting your work to a magazine.
Fujimoto: Yes, it's the same. I think it’s a setup most people are already familiar with.
── With so many webtoon studios popping up these days, aspiring creators have more options than ever. What makes working with Pikalo different?
── That's a big advantage, especially for those who want to work as specialized creators but don’t want to be limited to mainstream genres. I think the idea that team-based production is tied to “commercial” genres is pretty common.
── It’s true—when you enjoy your work, the creativity really shows.
── To attract creators who are passionate about specific genres, a studio needs to have a strong image, right?
── It's like how Mobile Suit Gundam shaped Sunrise's reputation as a company.
── And ideally, just like people aspire to work at Sunrise, creators would dream of working at Pikalo.
Asaoka: That’s the goal.
The need to create iconic titles
── It would be great if more labels and studios with a stance like Pikalo's emerged in the industry and became the standard.
── Right, webtoons don’t yet have a strong image of becoming major IPs.
── So you think it’s possible to create a webtoon that captures the unique qualities of the format while also being strong enough to become an IP?
── Are there things traditional manga can do that vertical webtoons can’t?
Asaoka: Definitely. For one, you can't use double-page spreads.
Fujimoto: The amount of detail you can include is also very different. A double-page spread lets you pack in a ton of information, but in webtoons, readers scroll through quickly, so the details are more limited. The framing and panel layouts are also more constrained.
── But that’s more about the presentation, right? Is there anything webtoons can’t achieve in terms of storytelling?
── I thought so. That’s why it would be exciting to see a hit in a genre that everyone thinks can’t work in a vertical format.
Fujimoto: Yes, we'll do our best…!
Asaoka: That would be a great way to help expand the market for webtoons, thereby attracting more creators, which in turn could lead to a cycle of new hits. I hope the industry evolves in that direction, and Pikalo becomes the go-to place for the brightest talents to shine.
Pikalo is recruiting webtoon creators!
The webtoon publishing and production label Pikalo, created by pixiv, KADOKAWA, and LOCKER ROOM, is actively recruiting webtoon creators!
Whether you're a solo creator who wants to build a project from the ground up or a specialist in a particular part of the process, you're welcome to apply.
We're looking for creators who...
・Are excited to explore webtoons as a creative format
・Are exploring whether they prefer to work solo or in a team
・Want to share their work with readers all around the world
・Are curious and just want to learn more about what we do
To learn more, please check out our application guidelines (Japanese only).
On Pikalo's Note, you can read about the thoughts and experiences of the creators involved in our projects.
Storyboard artist: Wadachi
Up-and-coming webtoon creator Wadachi was responsible for the storyboards of Nee, Wasurete Ii Yo. This is their first commercial project.
Q1. What led you to join Pikalo?
A. I was thinking about how I could turn my hobby of drawing into a job when I learned about the collaborative style of webtoon production. I applied to LOCKER ROOM as a storyboard artist. Not long after, they approached me with the idea of creating a BL webtoon, and since I already loved BL, I felt like it was a sign from above... And I jumped at the chance to join Pikalo!
Q2. How has your experience been so far?
A. Webtoons give me the freedom to both read and create without being restricted by the traditional horizontal manga format. But with Pikalo, I’ve had even more creative freedom when working on storyboards. (laughs) I’ve been able to add ideas like, "Hey, wouldn’t this visual direction be interesting?" On top of that, since Pikalo mainly focuses on women’s genres, which I love, it’s really boosted my motivation to both read and create.
Q3. What's your favorite scene in Nee, Wasurete Ii Yo?
A. There's a part where the two main characters have a small misunderstanding and things get awkward between them... It's such a bright and heartwarming story about being young, I hope readers can really feel that emotional pull! I've also worked with several visual techniques that really shine in a vertical format, so I hope readers appreciate those too.