SATONAKA Machiko (Manga Division Head Jury)

The increased number of applications received this year suggests that these awards are becoming increasingly widely recognized. It is also a good sign that there were not only circulated publications but also self-published manga and coterie magazine among the entries. Digital Manga is expected and intended to expand the possibilities of manga. However, there was noticeable confusion amongst entrants over what differentiates "Digital Manga" from "animation". Animation is animation, whether digital or analog. "Digital Manga", however, is intended "to cultivate new ways of presenting manga through applying digital techniques", and is supposed to be working towards this ideal. It was something of a pity that so many works entered in this category from abroad were actually animations.

Story Manga Critique/TAKEMIYA Keiko(Manga Artist)

It was most welcome that the total number of applicants has increased this year. The On-line Manga, especially, enjoyed a marked 275 percent increased compared with last year, which suggests the likely future tendency of manga publication. The number of entries from abroad has gone up year after year; about 10% of entries in the Manga Division were from overseas. This is evidence of the increasing recognition of the "Manga Award" at the Japan Media Arts Festival. There was great variety in the work of the final candidates, which reflects the broad spectrum of the manga field; from overwhelmingly epic themed work to very personal stories, from excellent orthodox work to styles somewhere between the painting and manga; each fully competed with the other. As this "Manga Award" is open to any nationality, any age, and both professional and non-professional artists, we are hoping to receive an even greater number of entries next year.

Frame Manga Independent Manga On-line Manga Others Critique/KIMURA Tadao(President of Nippon Manga Gakuin)

On-line Manga entries, which numbered 12 last year, increased to 33 this year. There were a larger number of entries from abroad than from Japan, indicating the growing recognition of this award worldwide. Many of the works were breaking free of the limitations of drawing on paper, making use of digital features for movement, sound, and color. However, when the emphasis of a work becomes movement, it tends towards animation, which cannot be recognized as a manga; this is a challenge for the future. Independent Manga takes the number one ratio in the Manga Division; this is probably because the Manga Division in the Japan Media Arts Festival is becoming more widely known. Among them, there was a work adopting a painting technique, and also some characteristic works with new expressions done by digital means. They were unique, but it was a pity that there was a lack of stories. Although the Frame Manga received a slightly increased number of applications, there were few one-frame manga applications. Nonetheless, there were many well made pieces and they had their own taste distinct from Story Manga. I am expecting many more applications for the Frame Manga next time.

KIMURA Tadao (President of Nippon Manga Gakuin)

Born in Tokyo, 1944. Established a Correspondence Course for the Future Cartoonist in 1977. While having produced many excellent manga artists, has worked as an editor-in-chief of MANGA SHIMBUN for more than 28 years, introducing manga trends as well as works from Asia. Awarded the 31st Japan Cartoonist Association Manga Award Special Prize in 2002 for his achievement in organizing the Manga Summit. Received an award for his contribution to China's manga culture at the World Comics (Cartoon) Conference held in Beijing, 2004. Published MANGAKA MEIKAN.

KUROGANE Hiroshi (Manga Artist)

Born in Kochi, 1947. After leaving MusashinoArtUniversity, made his debut with SANZOKU NO UTA GA KIKOERU in 1968. Published a number of gag works including KESSAKU MONOGATARI and HIMIKOHHH! in magazines. While stepping up his work writing essays and making TV appearances, has published many works featuring the end of the Edo Era in recent years. Winner of the 18th Kodansha Shuppan Bunka Award Illustration Prize in 1987, Bungei Shunju Manga Award for his work SHINSENGUMI in 1997, and the 2nd Japan Media Arts Festival Grand Prize in the Manga Division for SAKAMOTO RYOMA in 1998.

TAKEMIYA Keiko (Manga Artist)

Born in Tokushima. When 17 years old she made her debut when her work was chosen as a selected work for new artists in Margaret (Shueisha, Inc.). When studying at the University of Tokushima, started the serial work MORI NO KO TORU in Weekly SHOJO Comic (Shogakukan, Inc.). After this, came to Tokyo and started to work as a professional Manga artist. Major works: Terra-E...; KAZE TO KI NO UTA; IZUARON DENSETSU; etc. In 1980, awarded 25th Shogakukan Manga-sho. Since April 2000, a full-time professor of CartoonArtDepartment at KyotoSeikaUniversity. In 2001, presented an achievement prize of 11 AVON Awards to Women.

Monkey Punch (Manga Artist)

Born in Hokkaido, 1937. In 1966, presented GINZA SENPUJI in MANGA Story under the name Monkey Punch. In the following year, started to serialize Lupin III in the first issue of Weekly Manga Action. The hero Lupin and other colorful characters gained great popularity and the series became a huge hit, and Lupin III was made into TV animation series and several movies. Major works: Little Mafia; ISSHUKU IPPAN;TOMEI SHINSHI; and many others. In the spring of 2005, became a professor at OtemaeUniversity and teaches Study of manga.