As Young Magazine prepares to make its U.S. debut, Kodansha is introducing a bold new lineup of manga titles aimed at American readers. Known for publishing iconic works like AKIRA, Ghost in the Shell, and Initial D, the magazine is now spotlighting 19 new series that explore darker, more complex themes in genres such as sci-fi, horror, and cyberpunk.
We had the chance to interview Hidemi Shiraki, Young Magazine’s Editor in Chief, about the vision behind this launch, what sets these titles apart, and what American readers can expect from this special edition. Here’s what he had to say:
Q: When creating a U.S. edition of Young Magazine, what was the one aspect of its identity you felt was essential to preserve for American readers?
A: If we were to put “the essence of Young Magazine” into words once more, I believe it would be: “raw emotion,” “friction with society,” and “crossing genre boundaries.” Young Magazine has always portrayed outsiders fighting against the walls around them, regardless of genre. For this American edition, we intentionally want to present that spirit head-on, without softening it in any way.
Q: If you had to describe this U.S. edition in three words that capture its unique energy or character, what would they be and why?
A:
- Raw (むきだし)
Portraying characters’ true feelings, their discomfort with society, and the pain and weakness of being human—this has always been a core principle we’ve pursued in our editorial work. Even in translation, we believe that this “raw emotion” will still resonate with readers. - Defiant (反骨)
Stories about those who resist something—that is the essence of Young Magazine. Be it society, common sense, family, or even themselves, these are tales of people who confront the “walls” they face. For this edition, we’ve made a conscious effort to select works that embody this defiant energy. - Expansive (広大)
We chose this word not only for the grand scale of the sci-fi and fantasy settings, but also for the broad thematic range of the works. Whether it’s the dark fantasy of GOUMA The Blade that Slaughters Gods, the fusion of science and dystopia in Protocol Ryugu, or works like The Journey of a Dark Elf with Fading Powers, which incorporate social commentary into a fantasy setting—we take pride in presenting such a rich and diverse lineup to our readers.
Q: Was there a particular submission or story that made you feel, “This is exactly what U.S. readers need to experience,” and what made it stand out?
A: It is extremely difficult to choose, but GOUMA The Blade that Slaughters Gods stood out as a dark fantasy where samurai battle monsters, brought to life with stunning visual power and overwhelming artistic skill. The work makes no compromises in its expression, and we’re confident it will leave a strong impression on American readers as a truly “unlike-anything-you’ve-seen-before” manga.
Another major highlight was the submission of a sequel to BOYS RUN THE RIOT, a title already successful in the U.S. At a time when transgender themes are receiving global attention, the honesty and realism of this work has a genuine emotional impact. The way it portrays the protagonist’s journey of self-discovery resonates deeply across countries and cultures.
Q: Were there any creative risks in your selection of the 19 titles that you’re especially proud of introducing to a new audience?
A: What we truly confronted head-on was the depiction of an unvarnished world, addressing topics like sex, death, violence, loneliness, and discrimination. These are themes that are often said to be “better left untouched,” but we chose to tackle them directly. That’s because we trust North American readers.
This approach is especially evident in titles like BOYS RUN THE RIOT -IN TRANSITION-, The Knight of Blasphemy, and Protocol Ryugu. Beyond those, we’ve curated works that may trigger a reader’s instinctive urge to look away, while still compelling them to want to see more.
We hope you’ll embrace the bold concept behind UN-filtered MANGA and enjoy what it has to offer.
Q: You’ve called the magazine “unfiltered.” Can you share an example from this issue that truly represents that idea, something that feels especially bold or daring?
A: It’s the scene in BOYS RUN THE RIOT – IN TRANSITION – where the protagonist tells their mother about wanting to transition. I believe this conversation between the protagonist and their mother, who is both the closest person in their life and someone they can truly open up to, reveals the raw, honest emotions of being human.
Q: Are there any boundaries or content considerations you’ve had to weigh for the U.S. edition, or is your goal to present everything as authentically as it was originally conceived?
A: All of the featured works are original pieces, created specifically with the North American market in mind from the very beginning. Sensitive themes—such as religion—are portrayed through the lens of fantasy, while stories dealing with identity are, in principle, written by creators who have personal experience with those issues.
We worked closely with the translation team, having detailed discussions to ensure cultural and contextual sensitivity. The focus of the translation was solely on enhancing the accuracy of meaning and nuance, rather than altering the content.
Q: How have the original Japanese creators influenced or inspired the direction of the U.S. edition during your collaboration?
A: I remember I was very happy that many writers were delighted to see their works reaching readers in North America. In addition, the fact that writers who have been highly acclaimed abroad asked themselves “what is a work that can reach the world?” from their own perspectives was an inspiration to new writers.
Q: Are there cultural themes or nuances in these stories that you think U.S. readers might interpret differently, and how do you feel about those varying interpretations?
A: When it comes to works that address LGBTQ issues, it’s true that Japan’s level of understanding hasn’t yet reached the same depth as in the U.S., and readers may be surprised by the current situation here. However, we believe that these kinds of “gaps” are precisely what make cross-cultural expression so fascinating. If a work is interpreted differently than it would be in Japan, that’s a sign it has gained a new kind of value. We want to remain open to those possibilities.
With fan voting shaping which series continue, how do you approach balancing your editorial instincts with what readers are most excited about?
There’s no single “right answer” when it comes to what makes something interesting—and our instincts often miss the mark. That’s exactly why readers exist: to help us gauge what resonates as “entertaining” in the eyes of the public.
That said, in the world of entertainment, what matters most isn’t whether everyone thinks something is kind of interesting—it’s whether even just one person finds it incredibly compelling. That’s why we can’t afford to ignore our intuition.
It takes both the reader’s voice and the editor’s eye to truly nurture a work. A balance between the two is essential. Rather than leaning too heavily to one side, I see our role now as carefully observing how readers respond to the works we ourselves have fallen in love with.
Q: Looking ahead, what do you envision for Young Magazine’s presence in the U.S.? Could this launch lead to ongoing releases or new formats designed specifically for American readers?
A: Based on the reader feedback and the results of the popularity poll, we plan to continue serializations and digital releases in North America. We’re also exploring a wide range of future possibilities, including regularly publishing manga magazines and launching collaborative projects with local creators.
Q: Are there themes or topics you feel comics/manga in the U.S. haven’t fully explored yet, and could this project help open the door to those conversations?
A: For example, themes such as “teenagers with difficulties in life,” “a family curse,” and “self-denial and rebirth” are genres in which Japanese seinen manga excel. These are also subjects that have not been mainstream in American comics. For this reason, we hope that this year’s collection of works, which cut to the heart of these themes, will open new doors for our readers.
Q: Do you see the possibility of featuring an American or international creator in future issues of Young Magazine, and what qualities or storytelling approach would you look for in such a collaboration?
A: Of course we do, and we are actually considering it. What we are looking for is not “someone who can draw Japanese-style manga.” What we are looking for is “someone who can seriously draw their own story.” Even if the culture and background are different, readers will be moved when they come into contact with the bare, honest feelings of the artist. I would like to meet writers who have that kind of power.
Q: What was the toughest editorial decision you had to make during the creation of this U.S. edition, and was there anything that really tested your instincts?
A: The most difficult task of all was to select only 16 out of more than 100 entries. Even though the final decision would be made by the readers’ vote, the responsibility as an editor was very heavy in the preliminary stage of narrowing down the list to 16 candidates. In the end, it all came down to the editorial team’s enthusiasm: “Do we really want to bring this to American readers?”
We appreciate the chance to interview Young Magazine’s Editor in Chief Hidemi Shiraki, and we’ll look forward to the magazine’s launch. The U.S. edition of Young Magazine will be available for free at Anime NYC from August 21 to 24, and at select Kinokuniya stores nationwide through November 10, while supplies last. Fan voting for the new series opens August 21, with results to be announced in December.
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