The Manga Degree: Unveiling the Success Story of Koo Bon Wo

Article Key Points

Koo Bon Wo pursued her passion for manga by studying at Kyoto Seika University, the only university in the world that offers a manga degree.

Koo encountered difficulties while attending a Japanese school as a Korean, but found it comparatively less challenging than her time in Germany. Through diligent efforts and receiving scholarships, she managed to overcome language and financial obstacles.

For aspiring manga artists, Koo advises them to pursue their passion as a hobby, suggesting not to prioritize monetary gain. Additionally, she places great emphasis on the significance of consistent practice and steering clear of any form of piracy.

Making their own anime or manga has always been a dream for every fan of the genre. However, it's a challenging task considering the competitiveness within the industry. Nevertheless, Koo Bon Wo, an artist with Korean roots, embraced the challenge and followed her passion in Japan. She enrolled in Kyoto Seika University, renowned for being one of the few universities worldwide that offers a degree in manga. This prestigious institution has also attracted notable figures from the industry, including Naoto Ohshima, the creator of Sonic The Hedgehog. Later on, Koo ventured into teaching at Kansai Gaidai University in Osaka, where she shared her expertise and educated future mangaka. It is worth mentioning that as of 2023, she holds the position of a professor at Kyoto Seika University.

Koo: When I entered Kyoto Seika University in 2005, the admission process for the Story Manga Course (which is now part of the Manga Faculty) included a design exam, portfolio review, interview, and a Japanese test. Although I already had JLPT 1kyuu (now N1), which wasn't really required since they had their own Japanese test, it still beneficial when applying for admission. However, the process has since undergone significant changes. Instead of a separate test for foreign students like when I applied, now you apply alongside Japanese students, with different enrollment options available starting as early as August.

Koo: While I was preparing for an exchange program at my university in Germany, I became interested in studying Manga in Japan. Miraculously, my parents' friends who were visiting Kyoto mentioned to some people that I was looking for a manga school. These people happened to have connections with Kyoto Seika, which was the only university offering a Bachelor's degree in manga at that time. Although there were other academies where I could learn manga drawing techniques in a shorter period, they did not offer a degree. Consequently, I decided to change my plans for the exchange program and instead moved to Korea to prepare for the admission exam at Kyoto Seika.

GR: Did you encounter any difficulties attending a Japanese school as a Korean? How did you overcome them?

Koo: Honestly, it was much easier compared to the challenges I faced when I moved to Germany. Being Korean, the language and physical appearance were similar, and my way of thinking aligned well with Japanese society. However, being a Korean from Germany also presented some problems and advantages. While German universities didn't require tuition fees, Kyoto Seika required a significant amount of payment. Fortunately, I received scholarships during my time there, which helped in reducing my expenses. However, if I had to pay the full price, I'm not sure if I would have been able to afford it. Initially, foreign students only had to pay 50-60% of the fee, but now they are required to pay the same as Japanese students, making it more challenging.

I also believe that mastering the language can be quite challenging. Being able to draw manga requires more than just fluency in Japanese. One needs to possess a creative mastery of the language, and this is where most of my foreign students struggle. Not only do they need to become fluent, but they also have to push themselves further. To overcome this hurdle, I recommend reading extensively and immersing oneself in various forms of Japanese media. This is the only way to truly improve in this language.

GR: What advice would you give to aspiring manga/doujinshi creators, given your expertise in the field?

Koo: When it comes to doujinshi artists, it's worth noting that there are individuals in Japan who earn more money from their doujinshi than professional manga artists do. However, it's important to remember that creating doujinshi is primarily a hobby and not a means of income. Hobbies typically require monetary investments rather than generating profits. For instance, when you play online games, you spend money on them. While it's possible to earn money and gain fame as a skilled player, at a certain point, gaming ceases to be a hobby and becomes a job.

When starting to create doujinshi, it is important not to focus on making money. Do not feel disappointed if your work does not sell well or if you are spending more than you are earning. Remember, this is your hobby, not your profession. By continuing to pursue it for the enjoyment it brings, you may gradually find that the negatives decrease and more people begin to appreciate your artwork. This may lead to a turning point where you have to decide whether to become a professional or maintain it as a hobby. It is worth noting that when a hobby becomes a job, it may lose some of its fun, so careful consideration is necessary.

In any case, the key is to keep practicing and not expect your first attempt to be perfect or market-ready. Enjoy the process of creating as a hobby. Additionally, if your aim is to become a professional artist, it is important to refrain from supporting piracy. It is contradictory to ask others to buy your work while not supporting fellow artists by purchasing their creations, which may even surpass your own in quality.

GR: Which classes are offered for Kyoto Seika's manga degree? Which ones did you find most beneficial? Which ones were the most challenging?

Koo: There are currently two manga courses available at Kyoto Seika: the story manga course and the new generation manga course. While the second one focuses more on digital works, both courses cover similar subjects. The most challenging aspect is creating manga in the latter half of the year. In the first year, eight pages must be produced, while in the second year it increases to 16 pages. However, these pages must form a complete and self-contained story with either eight or 16 pages – no more, no less. It is also not permitted to create a summary or the first episode of a longer story, and the work must meet certain quality standards. I find it quite difficult to come up with a story that wraps up perfectly within eight or 16 pages. Additionally, the level of skill required for these pages was higher than I anticipated. Given the high quality of my classmates' work, I struggled to keep up and maintain a similar level of excellence.

GR: What influenced your decision to teach manga at Kansai Gaidai?

Koo: Honestly, I didn't expect to be chosen for the job. I was also debating whether to apply because I was still working on my thesis and feeling stuck. I wondered if I should just focus on my studies. However, I received a scholarship from the Rotary Club and my advisor strongly encouraged me to give it a try. So, I decided to apply, thinking that if I didn't get the job, it wouldn't be a big deal. Surprisingly, I ended up getting the position! I have to admit, it turned out to be a great decision. Initially, I didn't think I would be a good teacher or enjoy teaching, but I am actually really enjoying it.

GR: As you are now working at Kyoto Seika as a teacher, what are your hopes for your students as they pursue their career goals?

Koo: At Kyoto Seika, the expectations for students are different. In my previous class at KGU, it wasn't a big issue if some students struggled with drawing. However, at Kyoto Seika, it carries more weight. Even if students excel in drawing, their storytelling skills are also crucial. As their instructor, I motivate them to approach editors and showcase their work. To achieve this, they must invest considerable effort in drawing, and those who actively collaborate with editors tend to receive more opportunities. I also provide guidance to identify their strengths and weaknesses. For instance, if students are skilled at drawing but struggle with language, it may be beneficial for them to partner with someone who can help with the written aspects. Similarly, if their storytelling abilities surpass their artistic talents, they could consider pursuing the role of a name-gensakusha, someone who focuses on story development while leaving the drawing to someone else.

GR: Given the growing popularity of Webtoons, where do you believe manga is heading?

Koo believes that manga will continue to exist, and while physical books may not disappear soon, webtoons offer a promising alternative. Even if smartphones become obsolete and replaced by new devices in the future, the chances of supporting the top-to-bottom reading direction are higher than the right-to-left direction. However, new media always brings new possibilities. For instance, Japanese manga was limited to black and white due to cost constraints, but webtoons allow for the use of any color supported by screens, such as RGB rather than CMYK. This opens up a whole spectrum of colors that was unimaginable when consuming traditional books.

In essence, Koo wants his students to explore the possibilities of new media and challenge themselves to push their limits and have fun with each attempt. It is disheartening to hear his students constantly say "you cannot do this" while only considering what can be done with printed books. What cannot be done is not as important as focusing on what can be achieved. This mindset applies not only to drawing manga in its traditional black and white form but also to discovering the potential within limited resources, such as 8 blank pages.

Although Kyoto Seika University is still accepting new students, there have been significant changes in the manga industry since Koo's era. It has become more challenging in many ways. However, this should not discourage you. Instead, embrace the difficulties and persistently strive for triumph.

Editor's P/S

Koo Bon Wo's journey as a mangaka is truly inspiring. Her passion for manga led her to pursue a manga degree at Kyoto Seika University, the only university in the world that offers such a program. Despite facing difficulties as a Korean student in Japan, such as language and financial barriers, she persevered and even managed to secure scholarships to support her studies.

Her advice to aspiring manga artists is also valuable. She emphasizes the importance of treating manga as a hobby rather than a means to make money, as the industry is highly competitive. Additionally, she stresses the significance of consistent practice and avoiding piracy, which shows her dedication to the art form and respect for fellow artists. Overall, Koo Bon Wo's story is a testament to the power of passion and determination in pursuing one's dreams.