Konosuke Takahashi: Sourcing mangas from ‘bangas’

It's not unusual to see businessmen landing in Bangladesh, briefcases in hand and plans in motion, eager to expand what they've already built elsewhere. They come for the cheap labour, the growing market, or simply to try their luck in a new territory. 

But it's rare—almost unheard of—for a publisher to make that trip. The local publishing scene, after all, is a bit of a mess: chaotic, underfunded, and riddled with structural issues.

That didn't seem to bother Konosuke Takahashi.

With his team at Fournet—the folks behind the manga magazine 'Source?'—Konosuke looked at Bangladesh and saw something most others missed. While many would write it off as chaotic or broken, he saw a place brimming with artists with untapped creativity.

A country filled with stories itching to be drawn, voices waiting to be heard. And he didn't just want to spotlight them—he wanted to send them all the way to Japan—the holy ground of manga itself.

At its core, 'Source?' aims to support local manga cultures outside Japan, offering resources and opportunities for creators in regions where the medium is still developing. The platform encourages bold, honest storytelling—whether emotional or action-packed—and offers a publication pathway that goes beyond conventional Japanese trends.

Most foreign investors come armed with glossy narratives, dressed-up mission statements, and well-rehearsed talking points meant to flatter the local media. But Konosuke arrived with curiosity, clarity, and the quiet confidence of someone who has actually done his homework.

When asked why—of all places—he chose Bangladesh to build a manga pipeline to Japan, his answer was disarmingly simple. With a soft laugh and a glint in his eye, he shrugged and said, "Well, our flags look kind of similar, so why not?"

Jokes apart, he did provide a further explanation to his choice.

"We're calling them Bangas now. From now on, Bangladeshi manga will be known as Bangas. I want to make the term stick—not just here in Bangladesh, but in Japan too."

Konosuke Takahashi CEO, Fournet

"Firstly, we wanted to source manga and manga artists from cultures that are polar opposite to Japan. We also wanted to aim for developing countries with a niche but growing manga community. There's a community of around a couple million manga fans in Bangladesh," said Konosuke.

Of course, India was on the table too—it's a massive market, after all. But for Konosuke, it felt a bit too big, a bit too spread out. The manga community there is already well-established, but also scattered across such a vast country that building something cohesive would've been a logistical nightmare for his team.

The entire project isn't just limited to producing manga as it's also about building an entire ecosystem to support emerging artists. Konosuke and his team are working to leave behind a sustainable structure where local talent can be discovered, trained, mentored, and eventually published. To make that possible, they've developed an app set to launch by the end of the year.

One of its key features is that it allows global artists to publish their work in Japan, with 'Source?' offering editorial guidance, localisation support, and industry access. The app uses a tiered system—Rookie, Verified, and Pro—based on milestones like completing chapters or winning awards. Each level unlocks new opportunities, including royalties and pro-level support.

To help artists grow, the app includes an Academy offering video tutorials, consultations, and publishing tips. Awards within the app highlight standout creators and help promising manga move toward official publication in Japan's competitive market.

However, the few Bangladeshi mangas that 'Source?' has already published and sent to Japan didn't exactly spark much interest. "Japanese readers weren't particularly drawn to the idea of Bangladeshi manga," Konosuke admitted.

"And they weren't too enthusiastic about Bangladeshi artists mimicking traditional Japanese styles either. That's when it hit us—if we really want to stand out, the stories and characters need to feel completely original, something that's authentically foreign and not already familiar to Japanese audiences."

This whole realisation sparked the cheeky, "punny" side of Konosuke. So, naturally, he and his team decided to ditch the mouthful that is "Bangladeshi mangas" and coin something catchier.

"We're calling them Bangas now," he said with a grin. I'd be lying if I said that didn't get a solid laugh out of both of us. "From now on, Bangladeshi manga will be known as Bangas. I want to make the term stick—not just here in Bangladesh, but in Japan too."

Honestly, as goofy as it sounds, the name Banga might be just the kind of punchy branding these comics need. It's playful, distinct, and gives Bangladeshi manga its own exclusive identity—something fresh that sets it apart in the global scene.

'Source?' has already started developing upcoming "Bangas" that weave little slices of Bangladesh right into the storytelling. Konosuke shared one such example: a manga where the main character has a visible health bar above his head. While he's out for a walk during a typical Dhaka evening, his health suddenly drops by a few points—no battles, no villains in sight. The reason? A swarm of mosquitoes nibbling at him.

"This kind of thing is just so uniquely Bangladeshi," Konosuke laughed. "No Japanese artist would ever think of it, and Japanese readers definitely wouldn't see it coming. That's exactly the kind of originality I'm after."

He also gave a sneak peek into another manga in progress—this one features a snake demon, but with a twist. Instead of slithering out of the shadows, it morphs out of a rickshaw—another everyday, deeply Bangladeshi detail turned into something mythical.

Sketch: TBS