Manga Editors No Longer Read Manga, Says Industry Veteran
Manga editors no longer read manga the way they used to in the past, according to the perspective of a veteran professional in the industry. The statement comes from Kazuaki Ishibashi, an author and editor known for his work on popular series, who used social media to express his concerns about the new generation of editors in Japan.
Editors No Longer Read Manga, According to Industry Veteran
According to Ishibashi, many aspiring editors he has helped train over the years have impressive résumés and strong communication skills, but consume very little manga. For him, this is a serious issue, as the role of an editor requires deep knowledge of the medium, often even greater than that of the author.
The editor says he has lost count of how many times he has asked young professionals why they want to work as manga editors, often receiving vague or generic answers. While he acknowledges that new artists should also read more manga, he believes the responsibility of editors is even greater, as they are the ones who guide, evaluate, and steer projects.
Ishibashi points out that the environment has changed drastically. In the past, manga was everywhere: on bookshelves at home, in friends’ houses, and in bookstores and newsstands. Today, even though digital access has become easier, physical contact with works has decreased, making readers more selective and less inclined to explore different genres.
Another factor he mentions is the role of algorithms on digital platforms. According to him, these systems only deliver content aligned with users’ previous interests, making it harder to encounter varied styles. This contributes to a situation where manga editors do not read manga broadly, limiting their creative perspective.
The author also comments that the editor profession has become somewhat “trendy.” Many young people enter the field motivated by the desire to work in entertainment, be involved with major franchises, or simply because they find the job interesting. Ishibashi says there is nothing wrong with that, but he misses people who see manga as a central part of their lives.
According to him, editors in the past were seen as specialists, with authority built on the number of works they had read and their practical experience. Today, however, some believe they can understand the market simply by consuming summaries, explanatory videos, famous panels on social media, or watching anime adaptations.
For Ishibashi, an editor who does not read enough manga is like a music producer who does not listen to music. Without this direct experience, it becomes difficult to guide authors, recognize repeated ideas, identify old references, or avoid mistakes already made in the past. He concludes that without this solid foundation, an editor’s value in the creative process is seriously compromised.