With the power of crowdfunding, Flower Knight Dakini is set to be available in English. Sho Shibamoto, who has been drawing manga since 2008, was able to answer some questions I sent over email. He explains his experiences creating his own works compared to working on Yokai Watch, and using Kickstarter to help localize his work:

TheOASG: Tell me a bit about yourself and how you got into manga.

Sho Shibamoto: I’ve always liked to draw, since before kindergarten. I used to draw the monsters I saw in TV shows and movies, cut them out and played with them like dolls. I think I was always daydreaming.

Starting to draw manga was a natural process for me. At first, I drew mock illustration books held together with staples and had my parents write the lines in the balloons, when I couldn’t yet write. Since elementary school, my friends would read my manga. They were mainly fight scenes without any meaning, though.

What was the moment or event that led to you wanting to become a manga artist?

I had a vague desire to become a manga artist since elementary school. But I’ve always drawn only monsters, robots, animals. And with a peculiar style.

When I was in junior high school, I thought I couldn’t become a mangaka since I couldn’t draw like Weekly Jump’s authors, and I gave up the idea for a while. However, since I still loved drawing, I went to art college (I’ve been a financial burden for my family, I want to pay them back tuition money ASAP!),

I was also lucky to have friends who liked to draw and read manga like me. Thanks to them, I’ve learnt that there are various drawing styles in the world. I’ve also learnt about French author Nicolas de Crécy and US author Mike Mignola around that time.

It was thanks to my college friends that I realized I wanted to be a manga artist. And also thanks to my family, who encouraged me to have a shot at the Manga Awards.

In 2008, your work “Baku” won the 62nd Shogakukan Award for Seinen Manga. What’s it all about? What led to the idea of the work? And what was your immediate reaction when you learned you won?

Baku, the main character, suffers from insomnia. Every night, with the help of mysterious masked Dr. Hell and a machine called Naglfar, he dives into people’s nightmares and devours the latter. By eating nightmares, Baku gets over his insomnia and becomes able to transform into a more powerful version of himself inside dreams. Then, the purpose of Dr. Hell is also revealed.

In Pandemonium and Dakini as well, there are scenes reminiscent of horror movies, sometimes, but in Baku they’re present by a much stronger degree. It’s heavily influenced by Terry Gilliam and Tim Burton’s art.

Ideas for my manga are always born from doodles. Baku’s transformation or scenes like “Baku poking a brain on a dish with a fork” that appear in the work were born like that. Of course, it’s also inspired by the legend of the dream-eating tapir of Japanese folklore, called Baku as well.

I was really surprised when they called me to inform me about the award, because I wasn’t expecting it at all. I was able to have a natural conversation, but I remember my hands were shaking.

You then published under Shogakukan Tsunousagi and Pandemonium — Wizard Village. Can you explain what it was like to work on those series?

Both started with the notice that they were not going to be serialized in a magazine. Tsunousagi was published as a one-volume graphic novel. Pandemonium was serialized simultaneously in Japanese and English as a web manga, then printed in two volumes. (Pandemonium was also published in France in two big size full-color volumes)

I’m constantly absorbed in drawing what I want to draw. My editor, Mr. Toyoda, has always given me that opportunity. I was frustrated that Pandemonium was not given the green light to be serialized in a magazine, but since I did get the chance to draw it, I just gave it my all.

Of course it’s been really tough. Even though I have no assistants… especially in Pandemonium’s case, work got more and more demanding from the graphic point of view.

As the story progressed, I kept spending enormous amounts of time finishing one chapter. I don’t want to know how much it’d be if I converted it to a hourly rate *laughs*

You went from then creating your own manga to creating manga for an established franchise. What would you say was the biggest difference from starting from the ground up to working on Yokai Watch?

Because Level Five allowed me to freely create other characters aside from Komasan, I felt almost no constraints.

But I felt a lot of pressure. Komasan already has a lot of fans (including myself). You have to draw a faithful portrayal of his character.

The thing that surprised me the most was seeing how many different kinds of readers I had. I was able to read a variety of comments I couldn’t have experienced with Tsunousagi and Pandemonium. I realized that many more people than usual were reading my manga.

What made me happiest was that many Komasan fans were very pleased. I could experience a different gladness from what I get with original manga. It is a great honor.

What would you say has been the biggest challenge as you’ve worked as a manga artist this long?

I have the feeling that the biggest challenge for me gets updated with every work. Therefore, starting to draw a self-produced manga series was the biggest challenge this time.

What led to the idea of creating Flower Knight Dakini? Since you mentioned (in the Kickstarter) it’s linked to your past works, did you simply want to return to that world and continue telling that story?

I think that’s right, if you put it simply. In the two years I was drawing “Komasan”, I have kept Tsunousagi’s and Pandemonium’s readers waiting. It was also a matter of timing, since I just had to quit the series because the magazine publishing it shut down.

Not knowing when I’d be able to draw an original manga again, I was so anxious I could not sleep at night. Manga ideas are raw material. And there are lots of authors living through the same time – professional or amateur, doesn’t matter – each spinning a story. It is hard to postpone an idea because someone might beat you to it, if you wait too long.

I was dying to draw Dakini and Eiden’s story right away. I want to get done with my crazy self-publishing serialization challenge while in my 30s!

What led to you deciding you wanted to use Kickstarter to make it available in English?

When I thought about making the English version, the first thing I did was to contact Ms. Simona Stanzani. I asked her about translation fees, then she told me about crowdfunding and Kickstarter.

The fact that Kickstarter is also available in Japanese was another important factor for the decision.

How important was it to have Simona work on this?

It is apparent that keeping the atmosphere evoked by dialogue and onomatopoeia is important when localizing manga. At least, when reading Japanese comics, I feel that they reflect the character of the author. I guess it must be the same with translations. Even though they are translating from an existing source, the translator’s choice of words is important.

Because of her experience translating Pandemonium, I think Simona Stanzani has already grasped my view of the world. I also feel that her cooperation is very important in terms of continuity with Pandemonium.

Starting from the process of getting Flower Knight Dakini on Kickstarter to now, what has surprised you the most about this project?

I was very surprised at how fast we reached the goal. I wasn’t even sure we could reach it at all! I’d have never thought it could happen in just a couple of days. I am happy, and now I feel more confident seeing that someone is looking forward to read my work.

Finally, do you think crowdfunding is something more artists should consider using to get their works out there?

As I wrote in the project page on Kickstarter, it’s almost impossible for a minor manga artist like me to get his works published in English, but it’s happening now. It’s a rare and precious chance.

Thank you to Sho Shibamoto for taking time to answer the questions, and a special thanks to Simona Stanzani, who provided translation. You can check out the Flower Knight Dakini Kickstarter page to back it or get a bit more information.