ComiPress offers a translation of an interview with Naoki Urasawa of Monster fame, focusing largely on the role of the editor in manga creation. It’s an interesting reminder of the strong role editors play and some of the associated problems:
“Although the relationship is like collaboration, ‘Manga artists don’t realize the importance of editors.’ Urasawa insisted. ‘If I build a good relationship with an editor who is in charge of me, the editor will be transferred away in the future. I have felt it odd that a companies’ convenience should affect the art of manga.’”
It’s an interesting companion piece to the recent interview with Clamp in the New York Times, since the group seems largely free of editorial influence aside from the group’s producer-director, Ageha Ohkawa.
And even legends like Moto Hagio have both bristled at and benefited from the influence of an editor, as demonstrated in this interview that ran in The Comics Journal. On Kodansha:
“During that time they gave me a new editor [25], but both editors followed company policy, which was not to let artists do whatever they want, but to have artists do something that fits the theme of whatever project they are currently doing.”
Hagio had a happier relationship with Junya Yamaoto, who attained his own legendary status for his work with Hagio and the other members of the Year 24 Group of innovative shôjo manga-ka.
