Ayaka Matsumoto

Ayaka Matsumoto (Japanese: 松本あやか) is a Japanese Boys’ Love manga artist. She is the creator, writer and illustrator of Unexpectedly Naughty Fukami (やたらやらしい深見くん, Yatara Yarashii Fukami-kun), serialised digitally on WWWave Corporation’s ComicFesta since 7 December 2022 and collected into four volumes by Suiseisha as of 16 January 2026.

Her other work includes the Boys’ Love manga Mitsuya-sensei no Keikakuteki na Ezuke, two volumes, which also received a live-action adaptation, and Gohan Biyori. Her work reaches English-language readers digitally through Coolmic and Renta!, and is licensed for print by Seven Seas Entertainment.

One manga, two screen adaptations, one year apart to the day

Unexpectedly Naughty Fukami was animated first. The eight episode anime miniseries premiered on 7 April 2025 on Tokyo MX and BS11, produced by WWWave with studio HōKIBOSHI and Suiseisha. Matsumoto is credited on it twice, as original story and, unusually for a mangaka, as supervising music editor.

The live-action series followed on 7 April 2026, exactly one year later, ten episodes on Tokyo MX and DMM TV, produced by MINY MIX CREATIVE and directed by Emiko Shirai. There her credits are creator and original story, and the production’s own record lists it as based on both the manga and the anime.

BLGLFlix editorial view. The music credit is the detail worth returning to. Adaptation normally works by subtraction from the author’s point of view: rights are sold, a studio takes over, the mangaka is thanked in the end cards and consulted when convenient. A supervising music editor credit is not a courtesy title. It means somebody sat in on decisions about how the thing sounds, which is about as far from the drawing board as an adaptation credit can travel.

That is what the digital-first Japanese Boys’ Love pipeline looks like when it works in the author’s favour. Fukami was not serialised in a print magazine that could hand the property to a committee. It began on ComicFesta, a platform owned by WWWave, and WWWave then produced the anime. The author, the platform and the studio were the same building. That is why the adaptation arrived three years after serialisation began rather than the seven or eight a print property might take, and it is probably why she was in the room for the sound.

The four-day-under-a-year gap between the two premieres is the other thing worth noticing. Japanese Boys’ Love adaptations are usually spaced out, one property at a time, each waiting to see how the last performed. Two adaptations of the same manga in consecutive Aprils, with the live-action built directly on the anime rather than only on the book, is a publisher moving at a speed that suggests it already knew the answer.