Kodansha's monthly manga magazine "Afternoon," which was first published in December 1986, is celebrating its 40th anniversary this year. It has produced numerous masterpieces such as "Parasyte," "Oh My Goddess," "Big Windup!!", "Land of the Lustrous," "Blue Period," and "Skip and Loafer." In the world of manga, it is sometimes said that a manga is "Afternoon-like" or "typical of Afternoon." It seems that this is said about manga that are free-spirited and somewhat unconventional, but to be honest, it is difficult to put into words. What is the indescribable charm of "Afternoon"? We asked Tsubasa Yamaguchi, the author of the magazine's popular work "Blue Period," which has been adapted into an anime and a live-action film, and Akira Kanai, who has served as the sixth editor-in-chief since 2015.
◇I stopped thinking about what makes Afternoon magazine "Afternoon-like."
--What does "Afternoon-ness" mean to you, Ms. Yamaguchi?
I have the impression that Ms. Yamaguchi is very straightforward and doesn't consider context when it comes to what makes something interesting. It's not just about providing entertainment; I get the impression that she picks up on the delicate aspects of an author's work that only come out at that particular time. For example, boys' manga magazines can sometimes be a part of one's childhood or adolescence, but I don't think that's the case with "Afternoon." However, I do learn a lot from the manga in "Afternoon." It might sound cheesy, but it's like a lucky charm for me. It's hard to explain, but it's like touching a soft spot, and I think that's what I like about it.
--Does it have a different appeal compared to other magazines?
It's difficult for me to talk about other magazines, Ms. Yamaguchi , but if other magazines have rules and contexts, then "Afternoon" is pretty much rule-free (laughs). It gives the impression that as long as it's interesting, that's all that matters. I'm saying something really cheeky, aren't I? But there are a lot of works in "Afternoon" that I like.
--It's also different from what you'd typically categorize as a men's manga magazine.
Ms. Yamaguchi , I like that you can read them without worrying about whether they're men's or women's magazines, just like me.
Mr. Kanai , I think if you try to create a work that's "Afternoon-like," you're probably going to make a mistake. When you ask the manga artists, editors, and editor-in-chief, including Mr. Yamaguchi, "What is Afternoon?", they all say, "Well..." (laughs). I've stopped thinking about what "Afternoon-like" means. I've never used "Is it Afternoon-like?" as a criterion for making decisions in planning meetings or storyboard meetings. It's always been a bit of a dream, and I think it might be wrong for someone to decide, "This is Afternoon," and I think it's best for the manga artists to throw together the most interesting and most fulfilling manga they want to draw. When I first became editor-in-chief, I also considered the target audience and the gender ratio. But I stopped doing that (laughs). Otherwise, it wouldn't be "Afternoon." For example, even if it becomes a completely different magazine in two or three years, I think that's fine too. As a "product," it's wrong. We don't do segmentation or marketing. However, I think that's the right way to handle the works. I think it would be nice to have at least one magazine like that.
◇Even if paper disappears, we will not perish.
--Ms. Yamaguchi, your debut came about when you submitted your work to the "Afternoon Shiki Award," a new manga artist award.
Yamaguchi-san: "Afternoon" was the only magazine that picked up my work (laughs). My graduation project from university was a manga, so I sent in various short stories as soon as I graduated, but "Afternoon" was the only one that picked it up. I liked "Afternoon," so I sent them my favorite work.
--When did you start reading it?
It's a little awkward to say this in front of Editor-in-Chief Yamaguchi , but it all started with the comics. I got into it through the anime when I was in middle or high school, and then I read the original manga. When I was in high school, "Ookiku Big Windup!" was really popular in my class, and I got hooked too. A lot of my favorite works were in "Afternoon." "Land of the Lustrous" is also a big part of it. Haruko Ichikawa's short story collections are also really interesting, and we used to talk about them at art school, asking each other, "Have you read them?" I also like Asa Higuchi's "Yasashii Watashi," the author of "Ookiku Furikabutte," and I remember talking to some other "Afternoon" authors at the end of the year, and we all got really excited and said, "I know! I know!"
-- Is there something about "Afternoon" that attracts manga artists?
That might be the case, Mr. Yamaguchi .
Even Mr. Kanai can't achieve that on purpose (laughs). Looking at recent Shiki Award winners, you can sometimes tell they were inspired by "Blue Period."
Ms. Yamaguchi, I'm sure there were many people of my generation who wanted to draw like Haruko Ichikawa. She's a true icon!
--It's said that the current state of print magazines is tough. Do you intend to continue publishing in print in the future?
Mr. Kanai, I personally like the feel of paper, and I also like the thickness of the magazine as a material. I want to continue it for as long as I can. However, due to the circumstances of not only the publisher and the editorial department, but also the printing companies and bookbinders, there may come a time when we have to move away from paper. Even if we can no longer publish on paper, I don't think "Afternoon" will disappear.
An exhibition commemorating the 40th anniversary of the magazine "Afternoon," titled "Afternoon 40th Anniversary Exhibition," will be held from July 10th to 26th, 2026, at Sunshine City Exhibition Hall A in Ikebukuro, Tokyo. There may be no clear answer to what makes "Afternoon" unique, but by immersing yourself in the exhibition space, which is filled with 40 years of history, you may be able to touch upon the true nature of its "indescribable charm." (Manami Anima/MANTANWEB)
(C) Kodansha (C) Hitoshi Ashinano/Kodansha (C) Masayuki Ishikawa/Kodansha (C) Masakazu Ishiguro/Kodansha (C) Haruko Ichikawa/Kodansha (C) Hitoshi Iwaaki/Kodansha (C) Riichi Ueshiba/Kodansha (C) Shun Umezawa/Kodansha (C) Yuki Urushihara/Kodansha (C) OMOCAT/Konoito Nui/Kodansha (C) Shime Kio/Kodansha (C) Satoshi Kusumizu/Keizaburo/Kodansha (C) Coffee/Kodansha (C) Hiroaki Samura/Kodansha (C) Kenichi Sonoda/Kodansha (C) Tsutomu Takahashi/Kodansha (C) Misaki Takamatsu/Kodansha (C) Hiroshi Tamaru/Kodansha (C) Kenji Tsuruta/Kodansha (C) Ikada Tsurumai/Kodansha (C) Tsutomu Nihei/Kodansha (C) Asa Higuchi/Kodansha (C) Kosuke Fujishima/Kodansha (C) Tsubasa Yamaguchi/Kodansha (C) Makoto Yukimura/Kodansha (C) Yoshida./Kodansha
