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Aki Hamazi Interview - From the Manga Time Kirara FINAL Exhibition Book, September 2024

Born in Miyazaki Prefecture. She won an honorable mention in Shogakukan 71st Newcomer Comic Awards in Shojo category (Swan☆Complex), which later became her debut work in 2013’s Ciao Deluxe Super Spring Edition under the old pseudonym Hayami Chiaki. In 2015, she began her first Kirara work which is Kirari Books Meisouchuu, until 2017 where she started Bocchi the Rock! the same year. The work was adapted into a TV anime series in 2022 which gained popularity locally and internationally. As of September 2024, 6 volumes are on sale.

Q: Firstly, can you tell me how you started wanting to become a manga artist? Is that like Bocchi where she posted her works in SNS?

AH: I only relied on my drawing skills. Unlike Bocchi, I didn’t post much on SNS, maybe a few doodles or so. Even my debut work is also by submission (direct to the company).

Q: Your debut was in the shojo manga Ciao. Why did Ciao become your choice? And did you submit your (debut) work in other magazines?

AH: Ciao was my first magazine that I ever bought, so I have some nostalgia attached to it. During my high school, I did submit my work in the Shonen Jump’s Garyokin (Garyokin Newcomer Pro Award) and my name did appear in the magazine, but for some reason I had it thrown away…..I think that was a wasted (chance).

[The exact issue where her debut goes]

Q: Can you tell me the experiences during your time in Ciao and what skills did you learn from there that you still practice until today?

AH: It’s the guts (to keep going). In a short period, I had to submit my “three subplots” to the panel, got reviewed strictly, and had to finish my 31-page manuscript in less than 1 week. It was a very new situation which I was unfamiliar with, and I even cried to my family and friends that time. But that’s when I learned the important thing when becoming a manga artist: the will to give my best to my manuscript and the spirit to not be distracted by slightest issues.

Q: It definitely makes your skills better. So the next place you choose is (Manga Time) Kirara - how do you know about Kirara and what’s your impression about Kirara?

AH: My first Kirara work that I read was Doujin Work by Hiroyuki (Aho Girl, Girlfriend Girlfriend). I like the characters that stay true to their desires and also the lively jokes, and I think I also inserted his work’s essence into BtR too. Though, it’s during the K-On! time that I started to fully learn about Kirara (the magazine series). I think it is a very fun magazine to read because of the cute comics.

Q: In other interviews, you say you come to Kirara to draw more “moe” characters. Can you define what “moe” is to you?

AH: For me, “moe” is about flaws. No matter how perfect your character is, the moment you know about the flaws you will start to be attached to the character.

Q: Wow. I really agree with that (lol). Like Ryo, she’s a very cool person, but her money-wasting behavior makes me very attracted to her. It’s really moe. When I think about it, that’s what makes BtR characters interesting. By the way, can you tell me what character you think is moe (not limited to Kirara works)?

AH: I think the most attached/moe character for me is Kaiji from Gambling Apocalypse: Kaiji (by Nobuyuki Fukamoto). I love the gap between his usual pathetic character and when he show his protagonistic hero side. I think because of Kaiji many scummy characters appear in BtR….

Q: Oh! That’s an unexpected title (lol). I will try to reread it from your view. By the way, you changed your pen name (when you moved to Kirara - Aki Hamaji). Can you tell me why and how you get your current pen name?

AH: I just changed it for my fresh start here. Just like my old name in Ciao (Hayami Chiaki), I based my new pen name from the visual novel H2O -FOOTPRINTS IN THE SAND-, which design have a great influence for my drawing style

[Hayami Chiaki is likely based on Kohinata Hayami (left), and Aki Hamaji is likely from Yakumo Hamaji (right)]

Q: So you started your Kirara career with Kirari Books Meisouchuu. I think your target audience did change a lot since you started working in Kirara (from shojo to seinen). Can you tell me your impression of drawing “moe” manga?

AH: The age range definitely changed from when I started my shojo career, and I feel that I’m now drawing close to the readers wishes. Back when I started drawing shojo manga, I worried what would be acceptable for my target, so I just went with the flow which makes it easier to draw like that. When I started drawing moe manga however, I found out it’s also difficult to draw cute characters. Also, romance is inevitable in shojo manga so I tried my best to create manga with (main) male and female character, but in moe manga I can just draw mostly female characters and that makes me very happy (lol).

Q: My personal opinion is that Kirara works are more loose (on plot) and closer to what you call a gag manga. Do you have a particular preference on your gags and is there any gag manga works that you like?

AH: The editor say if it’s 4-koma/panel, it should be funny, so I draw things that can be funny for such format. If there’s any manga I was influenced in this aspect, it’s likely Kodomo no Omocha by Miho Obana - it’s not exactly a true gag manga, but the style of jokes are similar (to what I think of it).

[Kodomo no Omocha, or localized ver just call it Kodocha]

 Q: Your work jokes - such as the “Tsuchinoko of Shimokitazawa” and the dialogues like “I’m sorry for being arrogant/ikitte sumimasen” panel have been turned into merchandise and so on, so can you tell me which joke is your favourite?

AH: It’s the “My New Gear” joke in Chapter 22/Volume 2 - I really want to hear Yoppi voice that line (lol)! About the merchandise, it’s even been turned into LINE stickers and so on…I’m happy that Bocchi’s cries have touched a lot of people’s hearts.

[Hamaji-sensei actually refer to this panel, but I just keep it short]

Q: Speaking of the jokes, I heard that the editor did try to stop you to keep creating weird faces of Bocchi. There was quite an argument there - but did it happen in your other jokes?

AH: The editor definitely tried to stop me creating the Bocchi weird faces at first, but I have no much objection to creating other jokes. But now the editor is the one who wanted to make merchandise from those funny faces, just like the “chin-pick” merch (the Bocchi long-face pick offered in the October 2023 issue/Chapter 69 release).

Q: In Kirari Books Meisouchuu, the moe element is very clear on the visual and storytelling, but looking even from Volume 1 cover, BtR saw a lot of changes in your direction not only from outfit choices like Bocchi’s jersey, but also the drawing styles and the story tempo. Can you explain about the changes?

AH: I like moe and bishojo style so much, but during my Kirari Books time, I felt less passion to draw cute characters compared to other artist. Maybe I was too conscious about what readers want, so I draw characters based on what readers would like instead of drawing what I wanted to draw. Maybe that’s how it didn’t go too well, because the readers know I was too aware of them.

Q: Maybe you feel like you strayed from your heart saying “I want to do what I like”?

AH: Yeah, so when I decided for my next work, I decided to do just whatever I liked, instead of being confined by the general ideas of Kirara works. I liked bands, underground scenes and also the ideas of an introvert, hence BtR happens. As a result, I think readers can feel my idea of moe in BtR and I’m grateful from lessons I learned from my time with Kirari Books Meisouchuu.

Q: I looked at the first character drafts for BtR, and somehow they do look cute-ish. The editor is also the one suggesting to make Bocchi look more introverted in design, right?

AH: Yes, I did design the characters the way I liked but back then Bocchi still look more cheerful and cute. That’s where the editor steps in and suggests Bocchi to look more serious (gloomy/introverted). That’s how the current Bocchi is born.

[Definitely different]

Q: What are your thoughts when BtR has started serializing and when the tankobon/volume version was published and even reprinted?

AH: Back when Kirari Books were published, I was more nervous about how readers reception is with the series and how will it make people interested, but I enjoyed doing BtR so much that I am more confident when the first chapter was out to the point i can even see it getting an anime adaptation. Though, I am afraid if I am the only one thinking it’s good. That’s why I am very relieved when the survey results were out - “The response is very good!”. When it goes for a reprint even, I was glad that all the results are also translated into sales.

Q: What’s surprising me is there’s also someone who supervises music in your team when I read BtR…how do you get Instant-san to work along with you as music supervisor?

AH: I thought I did much of my own research when I did my Volume 1 chapters, but even that I feel I reached my limits on the contents. At that time, Instant, who has been reading my works since before Vol 1 release, said he was going to participate in COMITIA, so I went there and buy his book, and invited him to join me as the music supervisor.

Q: And how does the editor say when you said you want someone to help supervise you?

Sekoguchi - Editor: As she said, she’s an amateur when it comes to music and there will be limits to what she could do, so I’m relieved when she decided to have an expert supervising her. For instance, the moment when Bocchi’s guitar string was cut and she came with the bottleneck technique (in Chapter 20/School Festival Arc), that was Instant’s idea. I’m glad she could concentrate in her work and jokes and the manga has been better since then.

Q: The bottleneck moment was amazing! I was thinking that it is better to create some problems in the performance scenes instead of letting it going too well, but I’m not expecting the bottleneck will come as the solution! That was the climax of the show for sure. Can I know how you get your idea for the scene?

AH: We discussed a lot of issues during gigs. Instant suggested an incident where an overseas performer had his strings cut midway of the performance so he lost the tuning structure, so he used the slide technique, which was very popular among guitarists and we think just right to put into BtR. I remember we discussed more afterwards about which string would break and how (in the show) we can make it work. It creates a situation where Bocchi convinces Kita she can keep going and even leads to Kita ad-libbing to buy time for her, so it makes the scene better.

Q: Regarding the storylines, each volume has their main arcs such as Volume 1 with the band formation arc and Volume 2 with the School Festival arc, so how do you come up with such arcs? And there’s also some “cooling down” chapter at the end of the volume instead of having it end (hanging) in climax, why is that?

AH: I always plan for each arc to have their barriers between each other. I discussed the entire volume rough plans with the editor before writing them, and so did its details when I started so. The reason for such (cooling down chapters) is that for Kirara comics it takes around 1 year to release another volume. If I were to leave it hanging, readers may lose interest (on the arc) over time so by concluding them before the end of volume I can keep its impression strong.

Q: Indeed. Those extra chapters linger on me and give me the feeling that the story will continue. You say you are pretty confident on your first chapters, but are there any specific chapters that make you feel very impressed when you write about them?

AH: The live performance and the title drop chapter in Volume 1 (Chapter 12-13). I draw it with a vision on how it will look if it ever gets animated. Also in other volumes, the story will have a focus on live performance so I think those live performance chapters are where I feel very impressed when I wrote it.

Q: As the story progresses, the characters' personalities and even their tendencies and traits are revealed, but the manager (Seika) 's excessive love towards Bocchi catches my eye. What is Seika’s true reason for her obsession and how does Nijika react to it?

AH: It’s like loving small pets. Seika adores small and cute pets like Bocchi and even Hiroi, and I think Nijika is disgusted by her tendencies (lol).

Q: There are a few bands in the series, so how do you decide on the bands and their names, including Kessoku Band?

AH: The decision to name the band as Kessoku Band is just because of how it goes with the joke flow in Chapter 2, as I didn't exactly decide any names in mind until then. Initially I was considering taking AKFG's proposed name “Go Go Sea Chicken Boys” to change it as “Go Go Sea Chicken Girls”, but eventually it goes to what it is now. The SICK HACK name decision was on the editor’s pick, and Instant is the one suggesting SIDEROS. For Klimt’s Night, my sister and I were suggesting it based on midnight-themed groups like Zutomayo and YOASOBI.

Q: Speaking of names, here’s about the biggest secret of the series - have you decided on PA-san actual name?

AH: PA-san name is still a secret!

Q: Understandable (lol). So PA-san bonus illustrations (the one in COMIC ZIN Volume 6 bonus)has very strong reaction, so about that, do you get very excited when you draw art out of your usual comic strips like the bonus illustrations and the magazine covers?

AH: PA-san isn’t the main character, so I can draw anything that suit my tastes (lol). I don’t exactly put a lot of explicit sexy elements (ecchi and so on) in the series, so I prefer to draw something “arousing” for me as they are a bonus art, after all.

[Fun fact - COMIC ZIN have to reorder their Volume 6 copies weeks before release just because this art goes viral and people go full force ordered it there.]

Q: The BtR universe has expanded into the anime, the anthology comic, the (Kikuri) spinoff comic and the stage play. How have they been influencing you now?

AH: I think the direction of the music, the voice acting, the live performances and so on did help me solidify the BtR universe in my mind. Back then I used to imagine the song that I liked when making this series, but now, the live performances looks more alive (in my head now). I wonder if they still produce new songs now? Also, with Erika Yoshida writing the script, she helped creating a familial bond situation between the Ijichi siblings and it did help fill the gaps in the story, so the character resolution/motivation of them has become better seen.

Q: I imagine you might be excited when BtR got their own music in the anime, but what do you actually think about this? By the way, the music is indeed great, especially when the words from the original manga being used for such a cool music like Seishun Complex.

AH: Of course I have my own imagery of the songs I mentioned in the manga, but as I am also cooperating with the music team (for their creation), they are also in the same direction with me so all the songs so far exactly sound like what I am looking for. The music team said the scene has gone very far from the basic arrangement of two guitars, a bass and a set of drum, so I am pretty anxious about how the music will go and appeal with the modern-day listeners. But in the end, it goes beyond what I have been expecting and I’m thankful for their skills to make this happen. The song titles are mostly decided by the lyricist, but I’m grateful that those titles isnt just using any symbolic words from the work but actually wrote a very meaningful lyric that captures the inner thoughts of the characters, making it like the song is speaking on their behalf.

Q: Yeah, there’s now also the live performances of the band and the song doesn’t just stop as social media buzz but also now played in music festivals nationwide.

AH: I was very happy since having a live performance is my goal when I started this work. I never imagined it goes to even music festival performances and live house tour, so I am very happy for those to happen. Originally, I just asked the anime team to create songs that will lure people to “listen to them”. But eventually, it even lead people to start their own band, start playing instruments, and a lot of other things, so I am happy (to create a thing) that led to positive impact in people lives, if even it’s just a little.

Q: You recently bought a guitar, right?

AH: Yeah, since the start of the series, I wanted to buy myself a guitar if BtR is ever becoming popular. Bocchi’s guitar isn’t exactly affordable, so……

[Hamazi guitar. Most of the time Instant has the hand of it]

Q: That’s cute. How long you have been practicing with it?

AH: Every time I look of that Les Paul I am happy that it is the result of my hard work. Though, I still don’t find any time to practice with it since I am very busy, maybe I’ll get to it when things settled down…

Q: BtR has now become a big name. I think the creative environment might have changed too. Can you tell us what you pay attention to when writing? Also, what is your goal in the future?

AH: Since the anime aired, there are a lot more people who are looking forward to my title now so I wonder if it is now better to make my work appeal more to the general public….? Though, my focus on writing BtR is just the same like how it was before the anime happened. My goal is to always encourage Bocchi to do her best since I started, but it seems like nowadays she has grown so much that I think I am now more introverted than her…? So now (my goal is) to be able to be in comfort in front of people just like Bocchi.

Q: So my last question: what does Manga Time Kirara mean to you?

AH: It’s not just a series of comic magazines, but also a unique kind of culture. The anime adaptations it created have their own designation of Kirara Anime, with them always having their own bar in quality, has sparked lots of internet memes and are even liked far outside the original works. I believe the cultural elements embedded in Manga Time Kirara lead to steps that produce lots of great works.

Extra Question - Published in COMIC ZIN bonus leaflet of Volume 7 - published October 2024

These were published differently because the catalog book does not have more pages - for real, the above one already takes 5 pages.

Q: What do you want to do in Kirara magazines, and why Kirara MAX becomes your magazine of choice?

AH: I choose it (Kirara MAX) because I want to draw comedy manga and Hanzawa Kaori (COMIC GIRLS) who is also there, also come from the shojo background

Q: The first submission you give is a 4-koma comic about Othello. I got to read it, it is very cute and funny. But why Othello?

AH: I wanted to finish it quickly and submit it, so I chose Othello since it does not have much movement. Though, I myself actually don’t know much about it (lol).

Q: Your work on Bocchi the Rock! made you buy a bass and later a guitar. But why bass first?

AH: I chose bass first because my favourite bandman is a bassist. There’s also my rude impression thinking that bass is less intimidating than guitar, but it seems like it isn’t true (lol).

Q: Since you are now doing Kirara work, are you aware of trying to avoid drawing male characters?

AH: Yes, I’m aware of that. But it definitely looks fake if I avoided male characters entirely in this band settings, so I tried to draw them as supporting characters. Though, I’m worried if readers won’t receive it well, but they actually don’t mind so now I can draw them at peace.

Q: What do you feel when you know BtR will get an anime adaptation?

AH: I’m very happy when I got to know that, but at the same time I was worried if people will like it since Bocchi isn’t an appealing character for everyone.

Q: I read in another interview that you did participate in the anime production, song composition and voice recordings. I think you are busy with your serialization work too, but what makes you want to take part in the (anime) production? And how does it feel?

AH: I am worried about how much input from the original author they can listen to, but ANIPLEX, anime and music team are very kind to even let us have a space to discuss so I make use of that to convey my request properly, it’s a very good environment. The producer and main staff are also just around the same age range like me and we managed to make the anime without any deviation from what I want to ask for. I’m glad about that.