Report on Manuscript Submissions to Three Shōjo Manga Magazines on August 18, 2026

概要

On August 18, 2026, works from "Hope Princess" were brought for manuscript submission (portfolio review) to three shōjo manga magazines from two publishers, Shueisha and Kodansha. The meetings were held at 13:00 with Ribon (a male editor), at 15:00 with Margaret (a female editor), and at 18:00 with Nakayoshi (a female editor). The editors of each magazine offered valuable opinions on the work and its future direction. Going forward, submissions will be focused on Manga Time Kirara and Margaret.

背景

Before the Ribon meeting, there was a wait of about one hour at a nearby gifts. Asked whether Ribon had been read before, the reply was that an interview-style feature in an issue from about forty years ago, around the time "Chibi Maruko-chan" debuted, had left a deep impression. The editor responded that in thirty years editors evolve, and that one cannot say they do not. The way works are viewed changes with the times, with trends and with the feelings of elementary-school girls; an author's own view of the work cannot be said to be simply correct, and art styles also change with the times. When color manga pages were shown, the editor pointed out that in monochrome, color must be expressed using only black and white.

The same editor commented that the work looks like a manga that has been shown on the web and has grown up on the web, and that formats such as four-panel (yonkoma) manga would suit it. The editor explained that the difference between original and derivative creation is not whether something is fan art but whether it is professional or amateur, and that if the world of the work is to be valued, it should not be kept within the author and those nearby but should be read by readers. The editor also said that authors and editors exist because there are readers, and asked that it never be forgotten that "we" exist because readers exist. The editor noted that the panel layouts are dynamic and well suited to vertical-scroll web manga, and that around 2018 Korean vertical-scroll manga greatly increased their readership, with a studio system that separates story and artwork and demands a high level of drawing skill. The advice was that, having drawn the work for six years, the author should keep the "origin" in mind for a large, world-building work, while noting that if that origin is out of step with readers, it fundamentally loses its meaning.

After the meeting, there was a long time of reflection in the shade beneath the building. It was a great joy that a work for which no copies had been distributed at Comic Market was evaluated so directly, and it brought a sense of accomplishment and a wish to return for another submission. When asked at the end for a business card, the words "We would like to show this to you alone" were offered, and the editor replied that the work should be shown to as many editors as possible. Having asked many questions during a busy schedule, the meeting closed with a hurried farewell. We are grateful for the valuable time that was given.

At Margaret, the composition and one particular page were highly praised. The editor first observed that the work belongs to the lineage of "Cardcaptor Sakura," and advised that while those elements are good, today's readers are more mature, so a more grown-up art style should also be incorporated. The editor said the style is close to Manga Time Kirara, and that Margaret would also be suitable if romance were depicted, but that the world of this work suits a magazine strong in the classic magical-girl genre depicting friendships between girls. When asked what should be done next, the editor answered that the first thing, without fail, should be to submit to the magazines where such work is sought. Regarding the extra-wide four-panel pages, the editor described the cinematic way they open from a wide shot, and the intentional fish-eye effect, as unusual and good, and suggested that expressions such as flying through the sky might suit Kodansha's Nakayoshi.

On hearing that submissions to Ribon and Nakayoshi were also planned for the same day, the editor gave encouragement, saying that this was a good approach. It was also memorable that this editor wore a cross accessory on her belt. In addition, it became clear that asking at the outset how many questions are acceptable helps avoid taking too much of an editor's time.

At Nakayoshi, very few words were spoken. The editor did not view the work as manga, and the small number of notes taken was itself the answer. When asked for impressions, the replies were simply yes or no; this was not taken negatively, but rather received as important feedback precisely because it was expressed in so few words. When asked about the page that had been praised at Margaret, the editor replied with a single remark: "Yes, that is true." The meaning of the editor's remark that something had not been clear became understandable on the way home, and we regard it as an attitude reflecting the deepest love for manga: not treating as an object of evaluation anything that is not manga.

补充说明

The honest conclusion is that making these submissions was worthwhile. At the same time, there was also a sense of disappointment. The order for the next submissions is planned as Houbunsha's Manga Time Kirara, Kodansha's Nakayoshi, Shueisha's Margaret and Shueisha's Ribon. We extend our thanks to all the editors who kindly gave their time.

Please note that these publishers and Hope Princess have no relationship with any overseas corporation. So as not to cause any inconvenience to IHS Bethlehem Church, this work will not be made into a commercial manga. Should any offer be made, it will be declined.