Kodansha, Japan’s leading publisher, delivers captivating narratives across manga, literature, and digital media to audiences around the globe.
Japan’s entertainment industry has a deeply rooted history, beginning with traditional performances like Kabuki theater, and has evolved into a globally celebrated cultural powerhouse. How would you characterize modern Japanese entertainment culture, and what are the key strengths that have propelled Japan’s entertainment industry to international acclaim?
The Japanese entertainment industry is a vibrant melting pot of diverse categories. With countless manga and novel titles telling original and compelling stories, as well as Japanese dramas, movies, games, and animations being enjoyed worldwide, each medium influences and inspires the others. As a publisher of manga titles, we have a very strong relationship with TV companies, gaming companies, and animation studios.
The industry operates within a relatively small and interconnected space, fostering numerous collaborations. This collaborative strength is not just a defining feature of the Japanese entertainment industry but, in my view, also reflects a broader aspect of Japan’s national character.
The Japanese entertainment industry exported over JPY 5 trillion, placing it on par with many other key sectors of the Japanese economy. In light of this, the Japanese government has set an ambitious target of reaching JPY 20 trillion in exports by 2033. Do you believe this target is realistic within the given timeframe, and what key steps need to be taken to achieve such an ambitious goal?
The target is undoubtedly challenging, as is the question itself. Not all entertainment categories are the same, and even within manga, the diversity of titles makes it difficult to generalize. Simply increasing the number of mangas or animes produced does not guarantee proportional growth in sales. Just increasing the number of titles could have the opposite effect, diluting our focus on hit series and potentially leading to a decline in overall sales. At this stage, it is difficult to determine whether this ambitious target is achievable.
That said, we are committed to expanding the market, and there is still much to do. This effort extends beyond the United States, as we see Europe as a key market for exporting our titles. However, the challenge is how to realize this in a concrete and effective manner together with the government.
One of the biggest challenges facing Japan is its population crisis. As the world’s oldest country, Japan’s population is shrinking year by year due to historically low birthrates. This issue results in a smaller domestic audience and labor shortages, which heavily impact artistic fields where creators must spend years honing their craft. How is Kodansha addressing this population crisis and the unique challenges it poses to the industry?
You are absolutely correct, and this population crisis poses significant challenges for us, as it does for nearly every industry in Japan. To address this, we must focus on strengthening and expanding our fan base by creating and developing titles that resonate deeply with audiences. Additionally, embracing new technologies and further advancing digital forms of entertainment will be essential to meet the evolving needs of our fans.
On the creator side, we recognize that many young people today consume all forms of entertainment—manga, games, anime, movies—on a single device, like a smartphone. From their perspective, these categories often blur together on the same platform. This shift presents a unique opportunity for us to identify and nurture multi-talented individuals who can bridge these categories, such as actors who also draw manga or write novels. Japan is a country with an abundance of such multi-talented individuals, and our challenge is to find and support them in realizing their potential across multiple fields of entertainment.
The ability to host content on a single platform has significantly simplified both the creation and consumption process. Over the past decade, Kodansha has heavily invested in digitalization, moving much of your content online. What drives this strong focus on digitalization, and how do you envision emerging digital technologies, such as the Metaverse, influencing your creative processes in the future?
Digitization is crucial for us, as we must always supply our content half a step ahead of consumer expectations. Adaptability plays a key role in this, as we need to stay informed about cutting-edge technologies and explore how they can be incorporated into our creative processes. A good reference point for us is the San Francisco Bay Area with Silicon Valley, where many innovative ideas regarding digitalization originate. While this approach is challenging, it is also incredibly exciting.
I emphasize "half a step" because we don’t aim to be overly advanced. It’s important to closely observe consumer behavior and understand how they prefer to consume content. This balance ensures that our innovations align with their expectations and needs.
Meta’s approach to VR serves as a reminder that advancing too quickly can sometimes miss the mark, aligning with your half-step approach. Do you believe that VR and the Metaverse have the potential to positively impact and transform the entertainment sector? If so, in what ways?
While our company does produce animation, we recognize the current limitations of VR headsets like the Meta Quest 3. Many remain expensive and somewhat uncomfortable for extended use. If these technologies are refined in the future, they could become more widespread, particularly for enjoying movies and anime. However, it’s important to remember that technology is always evolving.
Our role isn’t so much about focusing on the Metaverse itself but rather concentrating on the content that will exist within that space. With this in mind, we are planning for the future while maintaining our half-a-step approach—staying ahead of trends without straying too far from what consumers are ready to embrace.
Japan's appeal extends far beyond screens and books, with the nation currently experiencing a significant tourism boom. Last year alone, over 35 million inbound tourists visited Japan, and this number is expected to rise to 60 million annually by the end of the decade. Many visitors are taking advantage of the weakened JPY to enjoy products exclusive to Japan. What impact has this surge in tourism had on your business, and are you developing any strategies to capitalize on this growing trend in the coming years?
Many tourists make it a point to visit manga and anime stores when they come to Japan. To extend this experience internationally, we launched a pop-up, Kodansha House, which was a limited time event in Soho, New York, in October 2024. Over the course of just three weeks, we welcomed more than 20,000 visitors. At the event, visitors had the opportunity to immerse themselves in authentic Japanese manga culture. Highlights included a replica of Kaneda’s bike from Akira and miniatures from Attack on Titan, designed for photo opportunities that made visitors appear as the titular Titans. The feedback was overwhelmingly positive—everyone was thrilled to engage with the displays and content.
Our goal is to provide local fans with an authentic experience that can only be experienced in Japan. We believe that this will lead to an increase in the number of Manga fans and Kodansha fans around the world. Additionally, we’ve expanded our presence regionally with a manga and animation store in Thailand in collaboration together with Animate and other Japanese publishers. These efforts are part of our broader strategy to connect global audiences with Japanese manga and animation.
Attracting 20,000 visitors to a pop-up store in just three weeks is an incredible accomplishment. Are there plans to host similar events in the future to further engage international audiences and promote Japanese manga and animation?
Yes, we have many plans. The event in October 2024 was our first attempt at such an initiative, and part of my role is to assess the next steps. Expanding beyond the US is certainly a possibility, as we see potential in holding similar events in other countries as well.
While many consumers enjoy manga and anime on their smartphones, there is an increasing trend among manga fans to prefer physical comic books, with volumes of popular series becoming coveted collectors' items or even viewed as pieces of art. How do you see this trend evolving in the future?
Around 60-70% of manga is consumed digitally in Japan, but in Western countries like the US, over 90% of manga is consumed in physical form. For many international fans, these physical books are viewed more as collectors' items, as you mentioned. This makes it crucial for us to create physical editions that people genuinely want to keep.
To cater to this niche, we’ve developed coffee table manga books that are larger in size, often in omnibus editions. We believe the physical format of many manga titles may evolve in the coming years to meet the growing demand for premium, collectible editions. For example, we like to joke that our collector’s editions of Attack on Titan are sized perfectly for Titans, given their larger format.
Kodansha’s history spans over 115 years, and your company produces an impressive 178 million books annually, accounting for approximately 9% of all publications in Japan. Could you share an overview of some key milestones that have defined Kodansha’s journey and growth over the years?
A few years ago, I tried to see what would happen if I tried to express in English what the founder of Kodansha and my great-grandfather first wrote in Japanese, "Omoshirokute Tameninaru,” meaning “Interesting and Beneficial,” but it did not work out. In 2021, we defined the English version with the title “Inspire Impossible Stories.” Our purpose has guided us for over 115 years and remains central to our mission: to create high-quality content that resonates deeply with our fans and delivers stories they truly love.
Over its long history, Kodansha's business has changed and become increasingly diversified, including magazines, books, manga, and in recent years e-books and licensing operations. Each era has brought unique challenges and opportunities, but while our business strategies adapt to meet contemporary demands, our core philosophy has always remained the same—creating stories that inspire and captivate audiences.
If I may expand on this idea, the Chinese word shu-pan, which means "publishing," reflects the essence of our work. The word is composed of two characters: shu, meaning the act of making something public, and pan, meaning data or contents. At Kodansha, our mission is to publish—essentially, to make stories, ideas, and art public. Whether it’s through physical books, e-books, games, or anime, these are all just different mediums for achieving the same goal: sharing meaningful stories with the world.
Could you elaborate on the strategies you are employing to drive overseas expansion and boost brand awareness?
The key pillars of our corporate strategy are our branding strategy and business strategy. There are some authors who are well known abroad, such as Katsuhiro Otomo for Akira and Hajime Isayama for Attack on Titan, both published by Kodansha. I think it is wonderful that Japanese works and creators are highly appreciated in this way. However, this recognition is not always directly associated with Kodansha itself. To address this, we are focusing on improving brand recognition and strengthening the connection between our brand and the intellectual properties (IP) we create.
Collaborating with new partners is a significant part of this effort. We maintain an open mind toward partnerships, both within and beyond Japan, as these collaborations are essential for enhancing our brand recognition and expanding our reach. Ultimately, our goal remains simple: to create better content. While progress has been steady, it is an ongoing and evolving process.
One notable example of our branding effort is our official partnership of Liverpool Football Club (LFC). We take great pride in this partnership, as it has helped us connect with LFC and Premier League fans around the world. For many, the association with LFC makes Kodansha feel modern, global, and undeniably cool.
Kodansha has made some innovative moves through its partnership with LFC, such as distributing a comic featuring the Liverpool Women’s team. How would you evaluate the success of this partnership so far, and what are some of the significant benefits you’ve observed as a result?
LFC is a big draw, with over 470 million TV viewers and 200 million social network followers worldwide. Through our partnership, we aim to connect with some of these LFC fans, letting them know who we are and what we do. Our partnership with the LFC has been very crucial in increasing our brand recognition.
Thanks to this successful partnership, we are sensing a growing interest from various sources to do something together with us. The partnership with LFC has led to many business entities, not just sports teams who are approaching us with proposals for collaborative ventures. These opportunities hold significant potential for expanding our reach and influence—opportunities that may not have arisen without our partnership with Liverpool.
In 2023, Kodansha launched the K-Manga app, and by 2024, it expanded beyond the US to Canada, Australia, New Zealand, and Singapore. The app operates on a ticketing system, allowing users to unlock individual chapters of various titles. Could you elaborate on the expansion of K-Manga and how this unique ticketing system enhances reader engagement compared to traditional formats?
Releasing titles by chapter is a proven model in Japan, so we wanted to introduce that same approach overseas. While subscription systems have their merits, we felt that the ticketing system could also be a new option for users in overseas markets. That said, we’re not ruling out the possibility of exploring a subscription model in the future.
Your overseas expansion has primarily focused on Western markets so far. Looking ahead, which regions do you see as key areas for further expansion, and how will they contribute to your company’s growth?
There is still much we aim to accomplish in the US, Europe, and China. In these markets, our business is still limited, mainly to publishing, whereas in Japan, our scope includes producing animations, games, and live-action movies.
Beyond these regions, Southeast Asia and India are key markets we’re watching closely, and we also see potential in the Middle East. However, doing business in these areas presents challenges due to cultural differences compared to Japan. Navigating these cultural specificities requires great care, which is why finding the right local partner in each region is essential.
When you mention partners, are you referring to distribution partners, co-creation partners, or another type of collaboration?
We aim to partner with companies that can manage activities like animation and gaming. IT companies are also a key focus for future collaborations. Our ultimate goal is to expand our activities beyond Japan and introduce a wide range of entertainment mediums globally, moving beyond just publishing. We are still focusing on publishing at the moment, but we are looking for various ways to expand our business.
Kodansha has been involved in several notable adaptations, including Ghost in the Shell, Battle Angel Alita, and Parasyte: The Maxim. However, adaptations are inherently challenging. There’s the artistic challenge of faithfully conveying the creator’s original vision, as well as the challenge of satisfying a passionate fan base, which can react strongly if an adaptation doesn’t meet their expectations. For example, in early 2020, Sega was compelled to redesign Sonic the Hedgehog after fans criticized the initial movie trailer. Could you share more about what Kodansha contributes to an adaptation project and how you navigate the challenges of bringing beloved material to the big screen?
I’ve had discussions with several Hollywood producers and directors who are eager to collaborate with our authors. Our role is to act as the bridge, facilitating communication and ensuring that the author’s vision is preserved while also aligning with the producer’s and director’s creative goals to craft a successful film.
Creating a movie that resonates with a global audience is an incredibly complex task. On top of that, mediating between two distinct creative visions is challenging. At its core, our role is that of a mediator, balancing these different objectives to ensure the best possible outcome.
Do you foresee your adaptation business growing in the future?
We see great potential in this field, which is expected to grow greatly in the future.
There is a growing perception that younger generations are increasingly drawn to shorter, bite-sized content, with platforms like TikTok thriving on short-form media. This trend has created a challenge, as fewer young people seem interested in pursuing careers in manga and literature. Kodansha, however, actively works to encourage young talent to explore careers in manga. One example is the Kodansha Manga Award, which has been running since 1977. The most recent award winner was given to the hugely popular manga Medalist, which is about figure skating alongside two other award winners. What role do initiatives and prizes like the Kodansha Manga Award play in inspiring and nurturing the next generation of storytellers?
A key priority is to ensure the success of individual authors. This means not only creating a clear path to success for them but also fostering leadership and providing editors with the tools needed to support their work. While you mentioned one of our prizes, it’s worth noting that other companies also leverage awards and prizes to inspire young talent. Ultimately, the goal is to make the profession of mangaka (manga authors) more appealing. The hope is that this cycle will lead to more readers, which, in turn, will reignite interest in pursuing a career as a mangaka.
Once a creator turns professional, we excel at promoting both them and their work. We also have strong capabilities in running multi-platform content. While our journey began with books, we’ve since expanded into movies, anime, games, and live-action projects. The returns from these ventures benefit the authors, enabling them to pursue new stories and projects.
For example, light novels often evolve into multiple formats, including anime, live-action dramas, and spin-off movies. From there, we can further develop the IP into games for fans to enjoy. In many cases, popular light novels are also adapted into manga, creating additional opportunities for storytelling and engagement.
Kodansha has over 100 years of history and an extensive catalog of published titles. Among them, which one holds a special place as your favorite?
My favorite manga is Ashita no Joe: Fighting for Tomorrow, a highly acclaimed boxing manga. In terms of novels, my favorite is Ryū Murakami’s “Ai to Gensou no Fascism” which has not been published in English. I’m a big fan of his work, and I believe he now enjoys a solid reputation even in the West. Fuminoiri Nakamura’s latest, Retsu, was published by Kodansha, although it hasn’t been translated into English yet.
As the president of Kodansha, what do you hope to accomplish by the time the company celebrates its 120th anniversary in four years?
Our primary focus is on the United States, where we aim to replicate the diverse business ventures we’ve established here in Japan. I truly believe Kodansha is a unique company, especially in how we use a multimedia approach to tell stories and inspire minds.
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