Great interview. I recommend everyone to read, even the ones who don't read or dislike Yunna. There's details about what an editor do in anime, what an editor does, how Miura works as a mangaka, what series can be on WSJ, etc
But here are some of the most interesting parts to me which are about the editors/editorial.
Now I have a couple of questions for the editors. For one, how do you usually work with a mangaka and what is the most interesting but also challenging part of this job?
Ikeda: Miura-sensei already explained part of it: The editor consults with the mangaka about what should happen in the next chapter and gets the storyboard delivered to him. The editor corrects some things and writes down some comments when something is too hard to understand, so the mangaka can adjust it as needed – and then it’s basically up to the mangaka to finish the story.
The editor of course supports them however he can but soon it’s all about finishing that one chapter. Once the editor gets the finalized chapter, his actual work starts. He still has to pick a font for the text. There is of course a default font but particular funny scenes for example may require different ones. Or a very sexy scene might need different letters to convey that as well. And then there is of course the final check-up: Looking through it if there are any mistakes.
Afterwards the editor hands it off to be printed. It is a lot of fun to discuss upcoming chapters with a mangaka since most editors of course enjoy reading manga themselves. It is very interesting since you know that you help to develop the story. It’s a great feeling to see how a mangaka turns the things you discussed into something great. And I of course always look forward to reader feedback.
Kawashima: Depending on the mangaka's lifestyle the editor may have to adjust to it. There are many mangaka that prefer to draw at night. An editor sometimes has unusual work hours because of that and sometimes you just feel bad when you are asleep while your mangaka is still up drawing. And when something doesn’t turn out so great and you have to deal with less than positive reader feedback which can make you feel a bit embarassed.
How do you decide what is appropriate content for Shonen Jump?
Kawashima: There is a conference in which they discuss what series will be picked up for the magazine and which might get cancelled. But in the end, it’s up to the readers to decide what fits
Jump. We consider data like survey results in these conferences for example. You could say that there should be a "this belongs in
Jump" definition – and there used to be something like that, but things have loosened up since then. A story like
Yuuna and the Haunted Hot Springs that while being sexy also reads a lot like a shoujo manga and combines several different elements, might not have made the cut in the past. But nowadays, it’s more like “what the readers like, gets into
Jump”. It doesn't have to be a pure-blooded shounen title as long as it's a good story.
Is there anything you would like to spotlight about your work at Jump that in your opinion deserves more attention?
Kawashima: Manga editors are actually quite involved in anime adaptations. Usually much more than the mangaka. They have to proofread storyboards and see if everything is in order. When an anime is produced, it is up to the editor to make sure that the manga is honored und the best possible product is being made. If you watch an anime, you are guaranteed to find the name of the responsible manga editor somewhere in the credits. It’s quite funny but a manga editor also has to do the work of an anime editor.
Ikeda: It would be preferable if the mangaka could take care of that themselves, but they are of course rather busy since they have to continue working on the manga. That’s why the editor takes care of that. It’s quite the responsibility since the editor has to speak for the mangaka. It’s a lot of pressure.
www.sbs.com.au