Phantom Thief Jeanne, and early Tanemura mangaĪF: Has the process of making manga changed for you since you ended your exclusivity with Ribon?ĪT: I feel more free at this point because I’m receiving more offers for work, not just with manga, but also for illustrations and character designs. When I debuted, my art… the line-forms were thicker, I guess harsher, and a bit harder and more solid looking style. AniFem staffer Caitlin Moore sat down with her at AnimeFest this past summer to talk about her past and current projects.ĪF: How has shoujo manga changed since you started your career?ĪT: When I first debuted, the shoujo manga that was popular at that time had a very soft and flowy type of artwork.

She is also active in the doujinshi scene and frequently draws fanart of other series such as Sailor Moon and Cross Ange. In 2011, she broke off her relationship with Ribon to work as a freelance artist, allowing herself more creative freedom and standalone illustration work. Two of these series, Phantom Thief Jeanne and Full Moon O Sagashite, have been adapted into anime.

Her stories often touch on more mature themes such as mortality and trauma, while still remaining appealing and accessible to younger audiences. Her work, published primarily in Ribon magazine, is known for its elaborate linework and use of magical girls and idol singers.

Since her debut over 20 years ago with I.O.N., Tanemura Arina‘s name has been synonymous with shoujo manga.

Arina dreams teen