GOOD TROUBLE

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Troublemakers is a magazine about society’s misfits. At least from the Japanese point of view. A bilingual, English/Japanese magazine, Troublemakers came about as a way to showcase people who were different, who stayed true to themselves, or about the long road those people had taken to self-acceptance.

The founders, Editor Yuto Miyamoto and art director Manami Inoue, were inspired by a notion that Japanese culture perhaps did not value those who strayed too far from the herd.

The magazine has been a success not just in Japan but globally, and perhaps mirrors a trend we see in streaming, for example, of a general public acceptance of universal stories from different places—gengo nanté kinishee ni (language be damned). Think, especially, of the success of Japanese television and movies like Shogun or Tokyo Vice or Godzilla Minus One. Of Japanese Pop, and anime, and food. It’s an endless list.

But Troublemakers is more than just a cultural document. It is proof of something shared, a commonality of human experience that exists everywhere. Speaking to Yuto and Manami, you sense a desire—and an invitation—to connect. With everyone. And that’s, ultimately, what Troublemakers tries to do.

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