Reading with Manga One App Editor-in-Chief, NOVELOUS App Producer Yuki Wada

Yuki Wada has been an editor for various publications in Japan for quite some time, working on a wide range of titles. He has been instrumental in the creation of the NOVELOUS platform, a light novel serialization app that offers readers a variety of light novels not otherwise available outside of Japan. Wada sat down with ANN to discuss his career in publishing, current projects, and where he sees the publishing industry going from here.

How did you begin your career as an editor? Was editing something you always wanted to do?

Yuki WADA: Upon graduating from university in 2001, I joined Shogakukan and was assigned to CoroCoro Comic as an editor. During my 10 years at CoroCoro Comic, I worked on Pokémon, Duel Masters, and other titles while also handling original manga. I then spent five years at Weekly Shonen Sunday, primarily working on sports manga. At Manga ONE, I worked for approximately seven years, five of which I served as editor-in-chief, leading the team. Currently, I am in the Universal Business Division, a department focused on new business development, where I oversee projects such as XR content and new app development—areas that were previously uncharted territory for a traditional publisher.

Since my father was a picture book editor, becoming an editor didn't feel like such an unusual career choice. However, even within the field of editing, there are significant differences between fashion magazine editors, dictionary editors, literary editors, and manga editors. I didn't specifically aim to become a manga editor, so when I was assigned to the manga department, I was surprised! I had to learn everything from scratch.

Does the role of an editor differ greatly between publications? For example, is it significantly different to edit for a children's magazine like CoroCoro than for a venue with a broader audience like Manga ONE? Or is it simply a case of “good writing is good writing?”

WADA: There are significant differences. In CoroCoro Comic, many projects are based on actual games or toys, so it is essential to maintain consistency and have an eye for creating trends. In terms of panel layout, skills such as clearly distinguishing between strong and weak panels, thickening the outline of characters, and ensuring eye contact are required. In Manga ONE, the readers are assumed to be more discerning, so there is a greater emphasis on the author's creativity and individuality. Optimizing artwork for swiping on smartphones and creating cliffhangers that make readers want to read the next chapter are also essential. Additionally, since the content may be shared on social media, efforts are made to enhance the story's appeal and stimulate curiosity.

Do you have a favorite project you've worked on, or is there a title that stands out to you? Why or why not?

WADA: As for a project, Manga ONE is the best. At first, many people in the company thought, “If we let people read a lot of books sold in bookstores for free, we would lose sales!” No one says that anymore, but this project faced significant opposition at the time. We achieved results, but I believe this was made possible by the strong support of our readers.

As for works, I'd choose the manga Promise Cinderella by Oreko Tachibana. Before this manga was adopted, I saw the submitted manuscript and felt that the manga was already very well drawn and had a great sense of style. When I asked her where she had been working as a manga artist, she told me that she was a newcomer with no experience as a manga artist. We worked together to improve the rough pages of this rejected manuscript many times for publication. Promise Cinderella finally became a big hit. Manga ONE had various hit manga such as Mob Psycho 100 and Kengan Ashura, but there were few works aimed at women, so I think this was a step forward that would later lead to a group of manga titles aimed at women.

How has the publishing world changed over the course of your career? Do you feel that increased internet literacy and the rise of apps over print magazines have significantly changed the manga and light novel landscape?

WADA: The biggest change is that smartphones have become the primary point of contact with novels and comics. This has greatly diminished the media power of paper magazines. On the other hand, I believe that brand power remains strong, and it has become possible to reach a wider audience. And I think the biggest change is that this reach is no longer limited to Japan, but has expanded to the rest of the world.

There is a lot of concern among readers and creators about the use of AI in writing, illustrating, and translating works. What are your thoughts on the subject? Is there a place for AI in publishing (digital or otherwise), or is this an area it should be kept firmly away from?

WADA: It can often be misunderstood, but I am opposed to the idea of using AI for content creation. Content is created to evoke human emotions—joy, anger, sadness, and so on—and to move people in various ways. I believe that the ideas and efforts of people who create content that moves people are valuable.

On the other hand, AI already exists. Technology is irreversible—just as we cannot go back to horse-drawn carriages after the invention of the automobile, or to landline phones after the advent of smartphones, or to letters before email. This is not a matter of good or bad. We need to confront the reality of “content creation in the age of AI.” There is also the possibility of misuse. I think we should consider positively how to utilize AI in a way that ensures creators receive proper compensation, or how creators themselves can use AI to improve efficiency or explore new forms of expression. Otherwise, we will have no answer to the negative aspects, such as malicious acts of stealing creative works or mass-producing low-quality imitations of existing content.

“The proper use of AI” will likely be one of the most significant themes over the next decade or so, and I cannot predict where it will lead. However, if creators do not explore the potential of AI, only the risks and anxieties associated with its misuse would inevitably persist. I aim to consider and propose ways to use AI that benefit both creators and readers.

How has, in your opinion and experience, reading on a smartphone as opposed to a print book or magazine, changed reading in general? Do you feel readers are less likely to take a chance on a series with longer chapters, or perhaps more willing to pick up a long series if it's published in a series of very short chapters?

WADA: I really feel that reading time has become very fragmented. For example, there are people who cannot sit through a movie at the theater. Many of them are accustomed to watching 15-second short videos one after another, so they cannot sit in a chair for 120 minutes to watch a single film.

On the other hand, I believe that the total amount of reading has actually increased. Many people take advantage of small pockets of free time, such as commuting or before bed, to quickly read manga. However, novels with long chapters may deter people because they can see the total amount of content waiting for them before they even start. It's the same as starting to watch a drama series from the first episode when you know there are 10 seasons. However, once you start watching, there are smaller story units within the series, so having unread continuations of a favorite story can become an advantage. So, creators and authors don't need to take it too seriously. If it's popular, it will continue, and it will naturally become longer!

On the other hand, those providing apps and other platforms need to make efforts to lower the psychological barriers for readers.

Is there more or less pressure on writers to produce chapters in an online-based publication setting? As an editor, how would you handle that pressure?

WADA: It is actually very difficult to include elements that make readers want to read the next episode in every chapter. This is not just something creators should think about on their own. Rather, it's about how editors can support them, which is where their skills come into play Some people may find this burdensome, but it is actually the area where you can make the biggest difference.

What are your thoughts on the ever-increasing visibility of light novels/webnovels in foreign languages? What is it about apps like NOVELOUS that facilitates discovery and reading light novels in other languages? Why should readers choose NOVELOUS over other apps?

WADA: For creators, it is a welcome development that their work can be seen by as many people as possible, regardless of their location. Traditionally, this would require a licensing agreement with a foreign company for publication, or the reader would need to study Japanese extensively to read the novels and comics in its original language. However, by making them available through an app by the original licensor has significantly lowered the barrier to access.

Most of the novels and comics available on NOVELOUS are only sold in Japan. If you don't choose this app, you'll never encounter these works in your lifetime. Even if you've been using other apps, please make sure to download this one!

Is there any one genre that you see as being more popular than others among English-language readers on NOVELOUS (or in general)? Does it line up with what Japanese readers prefer?

WADA: Works that are well-known through past anime, such as Gonna be the Twin-Tail!! are very popular. Of course, these works are also popular in Japan, but they are not the latest release. I think that as light novels become more widely known, people will be able to enjoy discovering works that will be adapted into anime or other media more quickly.

Are there any projects you hope to work on in the future? Where do you see publishing going from here?

WADA: It's still a secret, but... Let me give you a little hint. We are planning to release works that can only be done by a company that is directly connected to the creators. We also plan to provide the latest novels and comics in Japan with minimal time lag.