NEWS - 2025.04.12
INTERVIEW | Delivering Art Through Manga: A Conversation with PARARI-sensei, Author of "If I’ll Die Someday, It’ll Be After I Sell My Art"
If I’ll Die Someday, It’ll Be After I Sell My Art has garnered attention not only for tackling the inner struggles of artistic creation and character development—common themes in art-themed manga—but also for delving into the often-opaque mechanisms behind valuations and pricing of artworks. With Volume 1 released in June 2023 and the highly anticipated Volume 6 scheduled for release on April 16, 2025, we welcomed the manga’s creator, PARARI-sensei, to hear their perspectives on the art world, the key ideas behind the manga, and their thoughts on the auction market.
Bringing Art into a Universal Narrative—Where Manga and Art Intersect
▷Could you tell us about yourself? How did you start your career as a manga artist?
I started off being an average “otaku” and making fanzines. There was a particular female character I felt overwhelming need to make happy, so I began by drawing derivative stories featuring her. Eventually, I became interested in creating original works of my own, and while participating fanzine events, an editor approached me—and that was how I began my career as a manga artist.
▷What kinds of stories have you worked on so far? Are there any recurring themes that run through your work?
In these days, I am working on stories set in the real world. On the other hand, my previous work Mugi and Pes: Monsters’ Diary was a fictional manga featuring the fantasy daily life of monsters and creatures in an omnibus format. In this manga, I explored different kinds of topics like parenting within bird species or a trend of reptiles sloughing off their skin. I depicted it thoroughly with my well-considered imagination of “What if this trend caught on this fictional world?”
The subjects I pick vary, however, the focus on deeply woven character relationships remains constant throughout my stories. Many readers have told me that is what they love most. I want to portray realistic relationships and imbue the story world with a sense of authenticity.
▷Have there been people or experiences that especially influenced your work as a manga artist?
Two people stand out. One is my grandfather —I was very close to him. He bought me the entire Doraemon collection, and whenever I drew something, he would praise me (though I am sure he was just being kind). I did not explicitly aspire to become a manga artist back then, but growing up in that supportive environment made it a viable path for me.
The other is a fellow manga artist named AMUPAKA-san, who approached me at my very first fanzine event, COMITIA (Original Independence Comic Exhibition). I was still a total beginner at that time, but she read my manga and made the effort to come and tell me her thoughts directly. Unfortunately, she passed away last year. I loved her work, and will always be grateful that she taught me how fun creating can be.
▷Your current work, If I’ll Die Someday, It’ll Be After I Sell My Art, revolves around the theme of art. Could you tell us about your own encounter with art and what it means to you?
My first real connection with art came through a catalogue featuring works of Félix GONZALEZ-TORRES. I had opportunities to see other artworks before, but his works really stuck to me. To be honest, I have felt distant about the concept of “art,” and “art” has been a hard thing to grasp even I had always enjoyed drawing. However, something clicked in my mind when I saw his piece. His artworks may be more difficult to interpret than traditional artworks, but I was able to understand that he was expressing emotions I was already familiar with —feelings like love and loneliness—through his own visual language. Through his works, I came to feel the boundless potential of human expression embodied in art, at the same time, it made me want to explore that vastness even further. Personally, I was quite disappointed that his large-scale solo exhibition scheduled at the National Museum of Art, Osaka this year was cancelled.
▷That sounds like a deeply personal and powerful encounter with art. I think your profession brings you close to the subtleties of human emotion, and it may inspire you to connect so instinctively. It is a truly irreplaceable experience responding to a piece viscerally rather than analytically.
I believe so as well. Art certainly has the capacity to reflect the current state of society, and there are ways to engage with it intellectually. In my case, however, my first connection came from a place of feeling. Over time, I found that I could appreciate art both intellectually and emotionally, which has only enhanced its appeal for me.
▷Are there any artists you are currently interested in?
Yes, there are. I recently saw artworks by YUNDE Kenpei and SHIBATA Nanami at MIZOE ART GALLERY during “ART FAIR TOKYO19.” Paintings by YUNDE have a soft and almost dreamlike appearance. On the other hand, they are built up through layers of oil paint, and it creates a remarkable depth and presence. SHIBATA depicts simplified human figure, and her brushstrokes covey a striking sense of materiality. Both artists present a compelling contrast between the weight of their medium and the images they depict. I find these points very intriguing.
▷This may be a bit of a presumptuous question, but do you think part of the appeal lies in the texture and physicality of painting, which are qualities that are inherently absent in printed or digital media like manga?
That might be the case. Since manga does not offer the same kind of tactile or layered expression, I may be drawn to those elements without even realizing it. There is something captivating about the marks left by a brush—or sometimes deliberately erased—in original paintings. It is a mode of expression quite different from my own, and I find that difference fascinating.
▷You mentioned about the distinctions between painting and manga. Do you see any influence from art in your approach to manga—in terms of composition, color, or storytelling?
Absolutely. I believe there is a strong ongoing relationship between the worlds of art and manga. Sometimes techniques pioneered in traditional or contemporary art find their way into manga, and conversely, manga’s unique methods also influence the art world. As for storytelling, I am particularly drawn to video installation artists like Pipilotti RIST and William KENTRIDGE. Their works often explore deeply social narratives, such as feminism, their countries’ histories and so on. When I bring aspects of reality into manga, I aim to make them universally enjoyable, otherwise, it cannot stand as a manga without that point. A manga must first and foremost be engaging; otherwise, it fails as a medium. The works of those artists also resonate with audiences who might not share the same cultural or historical background. That ability to connect on a universal level is, I believe, something manga and art both strive for.
▷In a previous interview, you mentioned that incorporating elements of entertainment was your way of making art feel more accessible. I would say that “entertainment value” is a key concept.
I have two standing thoughts: wanting people to develop their interests in art and wanting readers to enjoy my work as a piece of entertainment. If the manga itself is entertaining, then the subject matter within it can draw attention. That is why I start from the point of view to create the story interesting and enjoyable.
Crafting Conviction and Balance in Portraying Art
▷What led you to create If I’ll Die Someday, It’ll Be After I Sell My Art?
On the basis of my creation, there has been my desire to make people experiencing the kind of emotional connection to art that I had, and a wish that more people become empathizing with those feelings. Art can be a difficult field to communicate clearly, and it often feels inaccessible. While it is true that influencers and commentators are opening more doors for engagement to art, I felt a strong personal drive to express its appeal entertainingly in my way.
▷When depicting art through manga, were there any particular techniques you used to ensure its credibility and clarity?
There were two areas I paid special attention to: visual design and storytelling.
As the point of visual design, I made sure that each character’s artworks were believable both as standalone art and as a natural extension of that character's personality. There have been several artistic interactions regarding the expression characteristics of the protagonist, Kazuki. At first, I considered that abstract expression or distinctive strong painting style would fit his personality. However, I thought that he would depict a more concrete world if I reflected his personality and experiences he had. That eventually led to a pen-and-ink style that fits well within the monochrome format of manga.
The most difficult part was conceptualizing NAGIMORI’s works. Once Kazuki’s concept of works determined, it was relatively straightforward. It was also easy to envision HARUNAGA’s works since it has conceptual characteristics reflecting her personal statements. KUMOI-sensei ethereal yet technically precise world also gave me a clear visual guide. On the other hand, NAGIMORI's work had to reflect not only his own unique sensibilities, including his particular fetishes and childhood aspirations—but also be convincing as a commercially successful artwork within the world of manga. In other words, his art needed a double layer of credibility.
From the aspect of storytelling, I was very careful to avoid giving a one-sided impression since this story might be the first encounter with contemporary art for some readers. For example, there is a scene in Chapter 2 where Kazuki mistakes an artwork for trash and throws it away. I think readers will initially relate to Kazuki’s reaction; however, if the story stopped there, it would reinforce a limited view of art. That is why I introduced HARUNAGA, the artist behind the discarded work. Having him speak about the piece allows readers to reflect and perhaps discover a new way of seeing.
▷Were you inspired by real people or episodes along with depicting the artists and market in this story?
In creating this work, I aimed to portray a range of patterns and perspectives in a certain level of realism, therefore, I did reference real-life people and events currently active in the art world.
For instance, one of the protagonists, Toru and his ARASHIYAMA family are heavily inspired by my first visit to the Hara Museum of Contemporary Art in Shinagawa. The museum, which was once a private residence of a businessperson who collected artworks, left a strong impression on me. That episode and the vivid imagery of the site influenced how I built Toru’s world. In fact, his family home in the story is set in Shinagawa.
As for artists, NAGIMORI’s character was shaped with a conscious nod to contemporary pop art. Among the influences, Tomokazu MATSUYAMA stands out. I have always admired his work, and his style—contemporary pop characteristic and how he depicts youth—has had a noticeable impact on how I drew NAGIMORI.
▷I had a feeling while reading that some characters might be based on specific people—and it was nice to know I was right. Had there been any readers’ striking reactions to you?
There is a wide range of readers, those already interested in art, those completely new to it, aspiring collectors, and even fellow creatives. Receiving feedback that my work inspired someone to visit a museum, or to take their own creative pursuits more seriously, makes me truly happy.
On the other hand, there was one piece of feedback saying, “Since I am not into the art as much as Kazuki is in the story, I do not think I could ever become an artist.” I do not see it in that way. The narrative throwing your whole soul into your art is just one type of story. This narrative works well in the story between Kazuki and Toru as one of fictional stories; however, it does not mean that this is the only way to become artists. Each artist has their own creation and their way to create.
Source: Excerpt from If I’ll Die Someday, It’ll Be After I Sell My Art, Volume 5, Chapter 18
©Parari (AKITASHOTEN) 2023
Love Lives in the Secondary Market
▷In general, I think it is hard to grasp how art is priced in the market. What do you think about it and what kind of reactions have you received?
I think there is strong interest in how artworks are priced. In fact, some readers consider my work to be an informative manga. Without that foundational knowledge, it is hard to fully engage with the human drama that sits on top of this manga, therefore, I try to explain basic information of the art world as clearly as I can in the story, such as relationship between art and money, how prices increase, or how market value is determined. I believe knowing that readers are enjoying the story may suggest that they are absorbing those contexts as well.
▷Volume 1 includes a scene set at an auction, which helps both Kazuki and readers to realize that art can be bought and sold. What was your impression of auctions before, and did your visit to our auction change that image?
I have always felt there are both light and shadow aspects in the market, and it can be said with any market or commodity. On one hand, there are people who genuinely love the artworks and want to own them. On the other, to put it bluntly, some view art mainly as an asset with no emotional attachment. That led me to a negative perception that the secondary market, including art auctions, would have more people who have the latter minds. I think part of that stems from being a bit of an “otaku” myself, I used to have something shady impression with resale. However, my impression of the secondary market has eventually changed after I started working on this manga. I had many opportunities to talk to many people and observed the auction world more closely, and these experiences led me to see the real faces of those who deeply desire artworks. Now, I see the secondary market as a space for passionate collectors who are seeking their second chances to acquire desirable pieces—people who missed out on acquiring a piece in the primary market. I would like to believe these are people full of love for artworks. If a piece can be passed from one loving owner to another, that is a wonderful thing. Art must circulate like blood in the body. It needs to flow. Otherwise, artists cannot sustain their careers. A healthy distribution system is important for art. I hope others feel the same way.
▷As a person working in the secondary market, it means a lot to hear that perspective. I appreciate it. Finally, can you share with us some highlights from the latest volume? I would like to hear from both of you, the editor, Kosaka-san, and the author, PARARI-sensei.
Kosaka-san: From an editorial perspective, I would highlight two points. One is the relationship between Kazuki and Toru. Though framed as an artist-patron relationship, there is much more beneath the surface. I hope readers will engage with human dynamics in the story, such as the misunderstandings and the missed connections. The other is the past of Toru. I find it fascinating that we finally get to glimpse into the past which he has been deeply tied to.
PARARI-sensei: I agree with you. Volume 6 is a turning point where many of the human connections built up in earlier volumes begin to shift. I hope readers enjoy seeing those developments. Also, this volume includes scenes set at the 21st Century Museum of Contemporary Art, Kanazawa, and we had the pleasure of working with the museum team for supervised descriptions. We also received kind cooperation from Leandro ERLICH’s studio for the use of his iconic work, The Swimming Pool. I am very grateful for their support and would be delighted if readers also enjoyed spotting those real-world connections woven into the story.
The latest Issue
©Parari (AKITASHOTEN) 2023
PARARI, If I’ll Die Someday, It’ll Be After I Sell My Art, Volume 6, AKITASHOTEN
Release Date: Wednesday, April 16, 2025
Bringing Art into a Universal Narrative—Where Manga and Art Intersect
▷Could you tell us about yourself? How did you start your career as a manga artist?
I started off being an average “otaku” and making fanzines. There was a particular female character I felt overwhelming need to make happy, so I began by drawing derivative stories featuring her. Eventually, I became interested in creating original works of my own, and while participating fanzine events, an editor approached me—and that was how I began my career as a manga artist.
▷What kinds of stories have you worked on so far? Are there any recurring themes that run through your work?
In these days, I am working on stories set in the real world. On the other hand, my previous work Mugi and Pes: Monsters’ Diary was a fictional manga featuring the fantasy daily life of monsters and creatures in an omnibus format. In this manga, I explored different kinds of topics like parenting within bird species or a trend of reptiles sloughing off their skin. I depicted it thoroughly with my well-considered imagination of “What if this trend caught on this fictional world?”
The subjects I pick vary, however, the focus on deeply woven character relationships remains constant throughout my stories. Many readers have told me that is what they love most. I want to portray realistic relationships and imbue the story world with a sense of authenticity.
▷Have there been people or experiences that especially influenced your work as a manga artist?
Two people stand out. One is my grandfather —I was very close to him. He bought me the entire Doraemon collection, and whenever I drew something, he would praise me (though I am sure he was just being kind). I did not explicitly aspire to become a manga artist back then, but growing up in that supportive environment made it a viable path for me.
The other is a fellow manga artist named AMUPAKA-san, who approached me at my very first fanzine event, COMITIA (Original Independence Comic Exhibition). I was still a total beginner at that time, but she read my manga and made the effort to come and tell me her thoughts directly. Unfortunately, she passed away last year. I loved her work, and will always be grateful that she taught me how fun creating can be.
▷Your current work, If I’ll Die Someday, It’ll Be After I Sell My Art, revolves around the theme of art. Could you tell us about your own encounter with art and what it means to you?
My first real connection with art came through a catalogue featuring works of Félix GONZALEZ-TORRES. I had opportunities to see other artworks before, but his works really stuck to me. To be honest, I have felt distant about the concept of “art,” and “art” has been a hard thing to grasp even I had always enjoyed drawing. However, something clicked in my mind when I saw his piece. His artworks may be more difficult to interpret than traditional artworks, but I was able to understand that he was expressing emotions I was already familiar with —feelings like love and loneliness—through his own visual language. Through his works, I came to feel the boundless potential of human expression embodied in art, at the same time, it made me want to explore that vastness even further. Personally, I was quite disappointed that his large-scale solo exhibition scheduled at the National Museum of Art, Osaka this year was cancelled.
▷That sounds like a deeply personal and powerful encounter with art. I think your profession brings you close to the subtleties of human emotion, and it may inspire you to connect so instinctively. It is a truly irreplaceable experience responding to a piece viscerally rather than analytically.
I believe so as well. Art certainly has the capacity to reflect the current state of society, and there are ways to engage with it intellectually. In my case, however, my first connection came from a place of feeling. Over time, I found that I could appreciate art both intellectually and emotionally, which has only enhanced its appeal for me.
▷Are there any artists you are currently interested in?
Yes, there are. I recently saw artworks by YUNDE Kenpei and SHIBATA Nanami at MIZOE ART GALLERY during “ART FAIR TOKYO19.” Paintings by YUNDE have a soft and almost dreamlike appearance. On the other hand, they are built up through layers of oil paint, and it creates a remarkable depth and presence. SHIBATA depicts simplified human figure, and her brushstrokes covey a striking sense of materiality. Both artists present a compelling contrast between the weight of their medium and the images they depict. I find these points very intriguing.
▷This may be a bit of a presumptuous question, but do you think part of the appeal lies in the texture and physicality of painting, which are qualities that are inherently absent in printed or digital media like manga?
That might be the case. Since manga does not offer the same kind of tactile or layered expression, I may be drawn to those elements without even realizing it. There is something captivating about the marks left by a brush—or sometimes deliberately erased—in original paintings. It is a mode of expression quite different from my own, and I find that difference fascinating.
▷You mentioned about the distinctions between painting and manga. Do you see any influence from art in your approach to manga—in terms of composition, color, or storytelling?
Absolutely. I believe there is a strong ongoing relationship between the worlds of art and manga. Sometimes techniques pioneered in traditional or contemporary art find their way into manga, and conversely, manga’s unique methods also influence the art world. As for storytelling, I am particularly drawn to video installation artists like Pipilotti RIST and William KENTRIDGE. Their works often explore deeply social narratives, such as feminism, their countries’ histories and so on. When I bring aspects of reality into manga, I aim to make them universally enjoyable, otherwise, it cannot stand as a manga without that point. A manga must first and foremost be engaging; otherwise, it fails as a medium. The works of those artists also resonate with audiences who might not share the same cultural or historical background. That ability to connect on a universal level is, I believe, something manga and art both strive for.
▷In a previous interview, you mentioned that incorporating elements of entertainment was your way of making art feel more accessible. I would say that “entertainment value” is a key concept.
I have two standing thoughts: wanting people to develop their interests in art and wanting readers to enjoy my work as a piece of entertainment. If the manga itself is entertaining, then the subject matter within it can draw attention. That is why I start from the point of view to create the story interesting and enjoyable.
Crafting Conviction and Balance in Portraying Art
▷What led you to create If I’ll Die Someday, It’ll Be After I Sell My Art?
On the basis of my creation, there has been my desire to make people experiencing the kind of emotional connection to art that I had, and a wish that more people become empathizing with those feelings. Art can be a difficult field to communicate clearly, and it often feels inaccessible. While it is true that influencers and commentators are opening more doors for engagement to art, I felt a strong personal drive to express its appeal entertainingly in my way.
▷When depicting art through manga, were there any particular techniques you used to ensure its credibility and clarity?
There were two areas I paid special attention to: visual design and storytelling.
As the point of visual design, I made sure that each character’s artworks were believable both as standalone art and as a natural extension of that character's personality. There have been several artistic interactions regarding the expression characteristics of the protagonist, Kazuki. At first, I considered that abstract expression or distinctive strong painting style would fit his personality. However, I thought that he would depict a more concrete world if I reflected his personality and experiences he had. That eventually led to a pen-and-ink style that fits well within the monochrome format of manga.
The most difficult part was conceptualizing NAGIMORI’s works. Once Kazuki’s concept of works determined, it was relatively straightforward. It was also easy to envision HARUNAGA’s works since it has conceptual characteristics reflecting her personal statements. KUMOI-sensei ethereal yet technically precise world also gave me a clear visual guide. On the other hand, NAGIMORI's work had to reflect not only his own unique sensibilities, including his particular fetishes and childhood aspirations—but also be convincing as a commercially successful artwork within the world of manga. In other words, his art needed a double layer of credibility.
From the aspect of storytelling, I was very careful to avoid giving a one-sided impression since this story might be the first encounter with contemporary art for some readers. For example, there is a scene in Chapter 2 where Kazuki mistakes an artwork for trash and throws it away. I think readers will initially relate to Kazuki’s reaction; however, if the story stopped there, it would reinforce a limited view of art. That is why I introduced HARUNAGA, the artist behind the discarded work. Having him speak about the piece allows readers to reflect and perhaps discover a new way of seeing.
▷Were you inspired by real people or episodes along with depicting the artists and market in this story?
In creating this work, I aimed to portray a range of patterns and perspectives in a certain level of realism, therefore, I did reference real-life people and events currently active in the art world.
For instance, one of the protagonists, Toru and his ARASHIYAMA family are heavily inspired by my first visit to the Hara Museum of Contemporary Art in Shinagawa. The museum, which was once a private residence of a businessperson who collected artworks, left a strong impression on me. That episode and the vivid imagery of the site influenced how I built Toru’s world. In fact, his family home in the story is set in Shinagawa.
As for artists, NAGIMORI’s character was shaped with a conscious nod to contemporary pop art. Among the influences, Tomokazu MATSUYAMA stands out. I have always admired his work, and his style—contemporary pop characteristic and how he depicts youth—has had a noticeable impact on how I drew NAGIMORI.
▷I had a feeling while reading that some characters might be based on specific people—and it was nice to know I was right. Had there been any readers’ striking reactions to you?
There is a wide range of readers, those already interested in art, those completely new to it, aspiring collectors, and even fellow creatives. Receiving feedback that my work inspired someone to visit a museum, or to take their own creative pursuits more seriously, makes me truly happy.
On the other hand, there was one piece of feedback saying, “Since I am not into the art as much as Kazuki is in the story, I do not think I could ever become an artist.” I do not see it in that way. The narrative throwing your whole soul into your art is just one type of story. This narrative works well in the story between Kazuki and Toru as one of fictional stories; however, it does not mean that this is the only way to become artists. Each artist has their own creation and their way to create.
Source: Excerpt from If I’ll Die Someday, It’ll Be After I Sell My Art, Volume 5, Chapter 18
©Parari (AKITASHOTEN) 2023
Love Lives in the Secondary Market
▷In general, I think it is hard to grasp how art is priced in the market. What do you think about it and what kind of reactions have you received?
I think there is strong interest in how artworks are priced. In fact, some readers consider my work to be an informative manga. Without that foundational knowledge, it is hard to fully engage with the human drama that sits on top of this manga, therefore, I try to explain basic information of the art world as clearly as I can in the story, such as relationship between art and money, how prices increase, or how market value is determined. I believe knowing that readers are enjoying the story may suggest that they are absorbing those contexts as well.
▷Volume 1 includes a scene set at an auction, which helps both Kazuki and readers to realize that art can be bought and sold. What was your impression of auctions before, and did your visit to our auction change that image?
I have always felt there are both light and shadow aspects in the market, and it can be said with any market or commodity. On one hand, there are people who genuinely love the artworks and want to own them. On the other, to put it bluntly, some view art mainly as an asset with no emotional attachment. That led me to a negative perception that the secondary market, including art auctions, would have more people who have the latter minds. I think part of that stems from being a bit of an “otaku” myself, I used to have something shady impression with resale. However, my impression of the secondary market has eventually changed after I started working on this manga. I had many opportunities to talk to many people and observed the auction world more closely, and these experiences led me to see the real faces of those who deeply desire artworks. Now, I see the secondary market as a space for passionate collectors who are seeking their second chances to acquire desirable pieces—people who missed out on acquiring a piece in the primary market. I would like to believe these are people full of love for artworks. If a piece can be passed from one loving owner to another, that is a wonderful thing. Art must circulate like blood in the body. It needs to flow. Otherwise, artists cannot sustain their careers. A healthy distribution system is important for art. I hope others feel the same way.
▷As a person working in the secondary market, it means a lot to hear that perspective. I appreciate it. Finally, can you share with us some highlights from the latest volume? I would like to hear from both of you, the editor, Kosaka-san, and the author, PARARI-sensei.
Kosaka-san: From an editorial perspective, I would highlight two points. One is the relationship between Kazuki and Toru. Though framed as an artist-patron relationship, there is much more beneath the surface. I hope readers will engage with human dynamics in the story, such as the misunderstandings and the missed connections. The other is the past of Toru. I find it fascinating that we finally get to glimpse into the past which he has been deeply tied to.
PARARI-sensei: I agree with you. Volume 6 is a turning point where many of the human connections built up in earlier volumes begin to shift. I hope readers enjoy seeing those developments. Also, this volume includes scenes set at the 21st Century Museum of Contemporary Art, Kanazawa, and we had the pleasure of working with the museum team for supervised descriptions. We also received kind cooperation from Leandro ERLICH’s studio for the use of his iconic work, The Swimming Pool. I am very grateful for their support and would be delighted if readers also enjoyed spotting those real-world connections woven into the story.
The latest Issue
©Parari (AKITASHOTEN) 2023
PARARI, If I’ll Die Someday, It’ll Be After I Sell My Art, Volume 6, AKITASHOTEN
Release Date: Wednesday, April 16, 2025
