There Are Four Lights

It comes to no real surprise to anyone in the industry that Tokyopop has closed its Los Angeles office and North American publishing division. The company has been on shaky ground since Borders declared bankruptcy and companies cut ties with them—-Blizzard and HarperCollins. Last February, the company laid off several staff members, including its Senior Editors, the few people left in the company actually interested in publishing manga.

And that seems to have been what really lead to the shutdown; a manga publisher not focusing on publishing manga anymore. Granted, the fact that Borders owed them money when they went bankrupt was a big blow, but under the management of company founder Stu Levy Tokyopop began to invest more in his side projects like America’s Greatest Otaku—-a reality series filmed cross country. Levy has state flat-out that he has lost interest in books:

Wow #GDC2011 [Game Developers Conference] is blowing my mind. Why have I been stuck in such an old-school, out-of-touch industry for so long?! (yes I mean books!)

via twitter

Over at The Manga Critic, Katherine Dacey points out, “Levy’s interest in new media is well-documented, but coming on the heels of the editorial layoffs, his comments suggested a lack of awareness about how consumers viewed TOKYOPOP: as a manga publisher.”

I met Stu while I was a guest at Otakuthon in Montreal; a group of us hung out in old Montreal and he struck me as a very talented and quite nice guy. But if you’re not interested in publishing manga, then don’t run a manga publisher. It’s fine to want to do the Hollywood thing and film documentaries and reality series, but obviously its not going to help business if you’re a manga publisher.

Manga fans want to read manga. They don’t quite care about reality show road trips about otaku across America, they aren’t interested in behind-the-scenes documentaries at conventions (ask Jeff Nimoy, who canned the “Adventures in Anime” web series before it ever really even got started).

Tokyopop’s contributions to the North American manga industry are significant. They released unflipped manga, and took the plunged into publishing original content with their “OEL” line (a label I’ve never liked). But that endeavour shouldn’t take any of the blame whatsoever for the company’s downfall. Their OEL titles and creators never really got the  support and attention they deserved. The company’s American-style business model for contracts with these creators gave Tokyopop ownership of the titles, leaving creators with little options when the company ceased publishing of them, even before the closure.

That’s one of my biggest gripes with the company—-their American publishing model. In the Japanese manga industry, ownership of a series lies with the creator, the mangaka. Publishing companies simply have the rights to publish the series. This is not the case in the American comic book industry, where a series like Spider-man is owned by the company, Marvel. This difference has an effect on storytelling—-namely, mangaka have more freedom and control over the creative process. At one time, Viz looked as if they were interested in producing original content using the manga model, but as far as I can tell, never developed anything.

Who knows what will happen to the titles of the OEL creators under contract with Tokyopop, now that the LA office will close. I imagine they are at the mercy of Levy’s ADD whims. The right thing for him to do with be to step out of the way and let what’s good for manga happen—-getting good manga titles into the hands of manga readers.

I found this great read on Spoonblog, “Manga & Reality“, by Paul Duffield, which mentions my interview for Skepticality. It talks about the troubles with defining what “manga” is. In my interview, I gave my standard definition—-a form of comic book which originated in Japan—-because in this context, as is usually the case in interviews, what I’m really being asked is to familiarise the average listener with what the manga industry is and generally what kind of products it produces. This is the practical definition of manga from a business perspective; what kind of product are you creating and what market is it geared towards?

His article makes a really nice analogy between the term manga and the term race, in reference to another Skepticality interview (which I just recently listened to after having read Paul’s post), episode #126 “Race and Reality”. There is no biological basis for the term race, as the interview with Guy P. Harrison discusses. Rather, it is a cultural term, which involves a great deal of subjectivity and a spectrum of characteristics. It’s fair to say the same for the term ‘manga’; it’s purpose is rooted more in culture than in the technical and artistic specifications of any individual publication.

I use the term manga to describe my work because I want to be clear about my intentions. In North America, there is a distinction between the comic book industry and the manga industry. The business of selling manga graphic novels is different than the business of selling comic books. This doesn’t mean that the two don’t ever mix, but I feel that the label is necessary when working to publish and market a series. I have referred to myself as a mangaka, manga artist, manga creator, etc., because I feel it communicates clearly what my intentions are in my work. However, I would also consider myself a comic book creator (who specialises in manga), but there is the reality that when I use that label alone, it doesn’t paint a clear picture of my work.

I do believe the label of manga is a reality of the business in North America. I also feel that I’m being honest and upfront about not only my business intentions, but my creative intentions as well. The reality is that there is a market of readers who have expectations from a series labelled as manga. I think these expectations are rooted in the aesthetics and storytelling of a series and not in the nationality of its creator. My intent is to create works that can fulfil these expectations, even though there is, admittedly, a spectrum of expected characteristics.

I want to hold my own work up to standard because I’ve seen some dishonesty or at least murkiness from North American creators who delve into manga–marketing a series as manga, to manga audiences, but then backing away into the “technically anything can be manga” argument when faced with criticism. My hope is that I never fall into this trap. I want to be honest in what I’m selling; be upfront with what it is…it’s manga, it’s manga inspired, it’s a hybrid, or it honestly has no intended label…but I don’t want to tell people my work is manga and then back-track. After all, I’m selling  a product.

All of these reasons are why I’ve had a problem with labels like “OEL manga” (Original English Language) or “Global manga”. These labels serve no useful purpose. They draw needless attention to the nationality of a series’ creator. I think it’s reasonable to say that there is a section of manga readers who only want to read manga that was created in Japan, by Japanese creators. In their case, the term “OEL” or “Global” serves as a warning to stay away. But I find it highly unlikely that there is a market of manga readers who only want to read manga from “OEL” or “Global” creators. If that were the case, these labels would make sense. Instead, I think they only serve to give the impression that manga created by Americans, Canadians, and Europeans are second class–and that they are second class because of the nationality of their creators.

Nokia Responsiveness video: As mentioned in the previous post, my Responsiveness Campaign video for Nokia has been posted: http://www.youtube.com/watch?v=YewnVH_JQEQ.

Skepchick, one of the top skeptic blogs, noticed and posted about it the video here.

Dr. Phil Plait, aka Bad Astronomer, posted about me as well on his blog over at Discover, Bad Astronomy.

Anime News Network picked up the press release from Skepticality about their interview with me on episode 127: mp3 download, itunes. You can also find info about it in Skeptic Mag’s eSkeptic for April 21st, 2010.

My first post as new contributor to the Canadian blog, Skeptic North, was posted: The (unofficial) Manga Guide to Woo Arguments.

Live Science and Newsarama also posted an article about me, written by Jeremy Hsu.

Last July, I spent a day filming for Nokia‘s Responsiveness campaign. I spoke about my work and latest series, Legend of the Ztarr, and how I’m hoping to relate it to skepticism and critical thinking (since I think those are important when evaluating how to response to the world around us). Please share!

Last Wednesday, I spoke at the Center for Inquiry‘s monthly science cafe, Cafe Inquiry. The talk and Q&A afterwards has been uploaded to YouTube in six parts:

Part 1 is my introduction and my explanation of skepticism and why I think it’s important. I also touch on why new age magical thinking and spirituality can be so appealing and easier to promote. My goal is to use storytelling to show skeptical values as virtues.

Part 2 is an overview of manga and why I’ve chosen it as a medium to tell stories that promote skepticism. I also speak about some series that have inspired me in my approach to doing this—-which is also an excuse to talk about Masters of the Universe.

Part 3 is about my series I’m producing, Legend of the Ztarr, and how I hope it will convey messages about critical thinking and humanism.

The Q&A discussion that took place afterwards is also available:

Part 1, Part 2, Part 3

Skepticism Through Manga

The graphic novel market is dominated by sales of manga; the form of comic book made popular by its animated counterpart, anime. Canadian manga creator, Sara E. Mayhew, was featured by the country’s prestigious graphic arts magazine, Applied Arts, as “new talent commanding our attention”. And, indeed, that was what she received—the attention of TED, the annual idea conference of the world’s leading thinkers and doers, who chose Sara to become part of their new fellowship program and attend the TED conference as a 2009 TED Fellow.

Her “idea worth spreading”? Promoting skepticism and passing on her passion for science through storytelling. Manga is the platform she has chosen to tell her stories. In her talk, Skepticism Through Manga, you’ll be introduced to this powerful storytelling medium and to the worlds and characters she has created to inspire readers to embrace evidence-based thinking.

Yes, I’ll be speaking at the Center For Inquiry on March 31st at 8pm in Hollywood! This is CFI’s monthly science cafe, “Cafe Inquiry“. It’s a free event so come on by and hang out with other skeptics, humanists, and science lovers. I’ll be opening the evening with my talk and then a discussion follows.

FREE skeptics talk, available refreshments, open bookstore, AND a geekalicious Canadian mangaka? HOMGosh~tell everyone!

Attending TEDActive was an amazing experience. Just seeing the TED2010 simulcast alone is great—-12 sessions of TED talks in four days. Then there’s the swag; the TED gift bags and the surprise giveaway of Google Nexus One phones for the 1500 Long Beach attendees, 500 TEDActive attendees, and all the TED Associate members. One of the experiences I’m most grateful for in my TEDActive ’10 attendance was the opportunity to give a 3min TEDYou talk, Friday morning, to an audience of a few hundred of my fellow TEDActive members.

I was second to speak, which meant following Sebastian Wernicke‘s amazing talk on how to make an amazing TED talk. My 3mins was dedicated to speaking about why I think the world needs more skepticism and how I’d like to promote that idea through manga storytelling.

What I believe is an idea worth spreading can be summed up in one of my favourite Sagan quotes “For me, it is far better to grasp the universe as it really is than to persist in delusion, however satisfying and reassuring”. The theme of this year’s TED conference was “What the World Needs Now”. My pick for what the world needs is more skepticism, critical thinking, and science literacy.

If we want to distinguish what is true from what we simply want to be true, we will learn to be good skeptics.

TED is a conference of the world’s leading thinkers and doers. What speaks to me the most about the TED speakers is not only that they are at the leading edge of their field, but that their work is driven by a passion to somehow make the world a better place. In my own work, I’m motivated to improve my writing and art from a technical perspective, but my major focus is often to establish what my own idea worth spreading is.

Manga is a hugely popular form of sequential art. Some of the things most appealing to me about it is the diverse readership (people of all ages read manga, including a high percentage of female readers) and the unconstrained storytelling—-you can tell all kinds of stories using manga. My goal in my work as a mangaka is to create stories that show the value in critical thinking and the dangers of mixing power and ignorance. I want to create characters that are good role models as skeptics—-overcoming problems using knowledge and evidence-based thinking.

Legend of the Ztarr is the story I’m writing with these ideas in mind. Currently, the first chapter is available online. My goal for 2010 is to get the series picked up my one of the major US manga publishers.

I had a great time getting my 3mins in front of the amazing TEDActive crowd. It isn’t often I get to talk to others about my work and my passion behind it. My fellow TED 2009 Fellowship member, Tino Chow, posted about my TEDYou talk on his blog, where he covered the TED simulcast.

©tinochow

For those of you who may not be familiar with anime or manga this rendition of four of the greatest scientists in our history might seem a little odd. For anime/manga fans reading this who aren’t familiar with ‘Charlie, Carl, Albert and Isaac’, this is probably confusing to you as well!

Since we’re celebrating Carl Sagan Day, I thought I’d create a little piece of artwork that has been floating around in my head for a while—-what Carl Sagan, Charles Darwin, Albert Einstein, and Isaac Newton might look like if they were bishounen characters in a manga series.

I have a weakness for the fashion of the online store, YesStyle.com. My closet contains many of their items, which I wear whenever I decide I should get out of my pjs and put on something nice. And what better place to do that then at the TED 2009 conference!

This is my creme-coloured ballerina skirt from YesStyle, which I wore for the first time at the TED Prize Gala back in February. The conference was held in Long Beach. This layered skirt is from the South Korean brand, Ukki. You can still grab it for about $50 US.

I also have this lovely “Flower-and-Vine” zip wallet by Let’s Fly, a Chinese brand. This particular item is no longer available, but YesStyle carries many of the brand’s other cute women’s bags and wallets.

One feature that I like about YesStyle is their “set” section. You can find some pretty affordable outfits in this sections, where items are combined together. I first came across YesStyle while looking for clothing references for my artwork. Looking through the site’s fashion always makes me want to sketch cute manga girls dressed up in their adorable items. So I did!

This set is from the South Korean brand, Beccgirl. It includes a v-neck long sleeve shirt and the check pattern skirt. Several colours are available in both the skirt and shirt, with the option of mix-and-matching your choice. Not included are the boots and the adorable suspenders. I have a thing for suspenders!

There you have it–YesStyle+manga! …And evidence that this geeky mangaka can, occasionally, get all dolled up!

I was interviewed by Kate Heartfield last week for an article in the Ottawa Citizen. The article, Open to Ideas, can be read online here as well.

I spoke with one of those creative people last week. Unless you’re a fan of manga, chances are you’ve never heard of Sara Mayhew, who just got back from a worldwide conference of ideas in California.

Mayhew is no big-city jetsetter. She’s a 24-year-old comic-book artist who lives in Kirkland Lake, in northern Ontario. She divides her time between freelance illustration and creating manga — a style of comics that originated in Japan.

She and Bill Gates have a few things in common. They both spoke at the 2009 TED Conference, and they’re both unrepentant geeks. Geeks change the world.

Yes, I think that was just a comparison between me and Bill Gates. But no pressure…