Master of the Machete Style Manga

Chapter 78: My Pass calls the world clear

It's already mid-March, and Ken Sakamoto has temporarily put aside the manuscript for "Chainsaw Man" to focus all his energy on drawing "Looking Back".

By Wednesday morning, all 143 pages were completed.

The call for submissions required manuscripts to be scanned into electronic versions, so Ken Sakamoto approached Kaji, the editor.

Ken Sakamoto: "Editor-in-chief, I've finished drawing the short story I submitted for the competition. Could I borrow the company's scanner to make a digital version?"

Keiko Kaji: "Of course, no problem. Is there any progress on Sakamoto-sensei's manuscript for Chainsaw Man?"

Ken Sakamoto: "I've been rushing to finish the short story manuscript these past few days. Chainsaw Man is still on chapter 16, but I'll focus on creating Chainsaw Man from now on."

Kaji Keiko: "It's alright, it's alright. I have a lot of manuscripts saved up. I think you need to take a break."

Keiko Kaji: "Speaking of which, my schedule is already full these past two days. There's a lot of work to do with the Chainsaw Man manga release, and I probably won't be able to pick up the manuscript until Friday at the earliest."

Ken Sakamoto: "Is the editor at the company? Or should I just come over?"

Keiko Kaji: "That would be wonderful! Just contact me when you get to the company. I'm really too busy right now, so thank you for your help, Mr. Sakamoto!"

Keiko Kaji: "By the way! Sakamoto-sensei, if it's a round trip between the company and your home, you can just take a taxi. The company will reimburse you."

Ken Sakamoto: "That's great, I'm coming right now."

Keiko Kaji: "I'll be waiting for you~"

Last week, Kenjiro Sakamoto only had contact with a small publishing house. His previous understanding of the work of editors at large publishing houses came from documentaries and TV dramas.

In JUMP's model, one editor is responsible for one writer, essentially acting as the writer's full-time agent. They are responsible for everything related to the discussion, creation, publication, and promotion of the work, as well as business negotiations and interviews that require public appearances.

In the days before the internet was widespread, editors had to collect letters from readers on behalf of writers, then summarize the useful feedback and give it to the writers. This also helped writers avoid appearing in public and protected their privacy.

This kind of thing was still very popular in 2015, with surveys or comment letters being sent out by email. Some popular authors' editors even hired part-time workers to help sort out a large number of reader letters.

Last week, even into the 2020s, many writers were unwilling to show their faces. Even the publisher didn't know what the writers looked like. The only one they were familiar with was the editor, such as Koyoharu Gotouge, who would later create "Demon Slayer".

This model allows editors to truly understand the work and the author; in some cases, editors even understand the work better than the author himself.

The downside is that it is too manpower-intensive. After all, an editor is only responsible for one serialized work, which means that JUMP can only take the path of meticulous work. The number of new works released each year is very limited, but the probability of producing excellent works is very high.

Ken Sakamoto finished organizing the manuscript, put "Looking Back Suddenly" into a file bag, slung his backpack over his shoulder, and headed out.

I booked a taxi in advance and waited for two minutes at the side of the main road before a black sedan pulled up.

It's often said that the Japan Taxi Association is the biggest yakuza group, and that getting a ride with them is like being robbed—and that's absolutely true.

The price standards set during the economic bubble period have not been changed to this day.

Those who take taxis are either wealthy people who are too lazy to drive, or those whose companies reimburse their expenses; the latter probably make up the majority.

The elderly driver started the car at a leisurely pace, and the vehicle merged into the traffic.

Actually, taxis are often not as fast as trams; they're just more convenient.

Ken Sakamoto looked out at the city streets through the car window, not thinking about anything else for the time being, letting his mind go blank until he reached the entrance of Shueisha.

Once inside the Shueisha building, Kenjiro Sakamoto sent a message to Keiko Kaji: "Editor-san, I've arrived. I'm in the lobby on the first floor."

Kaji Keiko: "Wait two minutes, I'll be right there!"

Ken Sakamoto stood in front of the poster wall. The poster for "Young Lady, Sniper Rifle, and Pantyhose!" had been replaced with another one. After all, this was just an internal display and didn't really serve any promotional purpose. Each poster was rotated.

Soon, Ken Sakamoto heard hurried footsteps behind him. He turned around and saw Kaji, the editor, rushing over with his hair disheveled.

“Editor-san.” Ken Sakamoto stepped forward.

Kajieko waved to Sakamoto Ken without exchanging many pleasantries, and led him directly upstairs: "I'm sorry I couldn't come to your house to pick up the manuscript. I had a lot of things to do today. I just got back from the printing factory this morning, and now I'm busy filming the promotional video. I also need to check the layout of the collected volumes later..."

"Thank you for your hard work, editor-san," Ken Sakamoto said.

"No, no, it's all for the sake of making the work a big hit." Keiko Kaji brushed a strand of hair behind her ear and led Ken Sakamoto into a room with a buzzing, noisy sound coming from inside.

"Printing, scanning, and everything else are all here. Oh... Sakamoto-sensei has already finished 'Looking Back,' but I haven't finished reading the rest yet." Kaji Keiko entered the room and saw someone using the printer.

She greeted the man: "Katayama-san, you're scanning a manuscript for a writer."

“Yes, this writer who was selected for last year’s Golden Future Cup has a new short story that is still of a good standard. I have high hopes for him.” He said as he continued scanning the manuscript.

Editor Katayama turned his gaze to Ken Sakamoto, somewhat surprised, and said, "Huh? Is this Ken Sakamoto from 'Chainsaw Man'?"

“It’s me.” Ken Sakamoto nodded.

"Haha, it's an honor to meet Ken Sakamoto-sensei. I've been following your manga," said editor Katayama. "We haven't seen such a brilliant work in JUMP for a long time."

"You flatter me, Mr. Katayama."

"My manuscript is scanned, you can use it, Kazusan."

Katayama finished organizing the manuscript and prepared to leave.

Sakamoto Ken glanced at the manuscript in his hand and saw a familiar name.

"Huh? Katayama-san, is this manga by Koyoharu Gotouge, the author of 'Oni... uh, Mr. Rib'?" Ken Sakamoto said.

"Hmm?" Katayama stopped in surprise and showed the cover to Sakamoto Ken. It had the title of the work, "The Saw-Shaped Garden of Flies," and the pen name, Koyoharu Gotouge, on it. "Sakamoto-sensei actually knows about this."

“I’ve read Mr. Rib, hmm… this story has potential,” Ken Sakamoto said.

“Haha, that’s right, that’s right. I’m optimistic about her potential. This is the short story that will be published in JUMP next month, but I’m also discussing a long-running series with her,” Katayama said.

This time is exactly one month before the publication of her short story "The Saw-Shaped Courtyard," the timing is perfect.

And her editor was also Katayama.

Although the art style of "Mr. Rib" is relatively immature, it already has a basic world view where people are infected by evil energy and start killing, and the purifiers are specifically tasked with exterminating these infected people. The fighting style is also retained in the later works.

If all goes well, they will work together over the next year to develop a brand new long-form serialization based on "Mr. Rib".

Then, Demon Slayer was born.

(End of this chapter)