Alright, I totally need a little help here.

I’m pretty up on the manga, I do my best to research the market, talk to fans, all that stuff. I’m spectacular at doing this within my field (comics retailers) but still at least pretty decent when compared to the legions of die-hard manga fans that populate the interwebs. But I totally need a hand with this, because the upcoming Anime North convention in Toronto at the end of the month? It manages at least one big surprise every time.

We do a massive set-up for this show, 18 tables in an island, something like 180 feet of frontage the way we set it all up. We try and bring every manga you can think of, because a lot of fans save up for months to come to AN and pick up the manga they love, that they’ve only read about on the internet (or in scaaaaaaaaaaaans) and they want to own it and love it and squee all over it. And we want to have it for them.

Every year we get blindsided by one major title, and it always pisses me RIGHT OFF.

2005: “Do you have Chrono Crusade?” Sure, we had like maybe 3-5 copies of each volume. That lasted about half way through the first day, and then the next 22 hours of convention were “I heard you guys have Chrono Crusade!? PLEASE! I NEEEEEED IT!” and I’m all “oh noes.”

2006: “I NEED OURAN HIGH SCHOOL HOST CLUB! O! M! G!” and I’m like are you kidding? We sell like 2 copies of that at the store. But yeah, getting asked 20 or 25 times a day for that book for 3 days? I can guarantee you we totally stock deep on that one now. It did us no good at the show, however.

2007: “Vampire Knight Vampire Knight Vampire Knight Vampire Knight” and I didn’t even know what that was. Seriously. Either like 1, or maaaaaaaaaybe 2 volumes had come out, and I figured it was some ultra-rare Infinity Studios title or something. No, Shoujo Beat again, we were barely selling it at the store, and it was the book we got the most requests for (of course, we ended up selling like a case of each volume of Death Note and Naruto at that show, we didn’t do too badly…)

So the 2008 Anime North show is coming up May 23-25, and I think I’ve done my homework this time and I’m trying to stock up on fan-fav series, but I’m sure that we’re forgetting something.

Soooo, if you’re going to Anime North, or if you just want to promote your favourite manga series (and it looks like I’m a little weaker at predicting the Shoujo/Crossover-appeal series than the Shonen) then I’d love to hear from you in the comments. I’m totally aware that this is asking you to do my work as a retailer for me, and I apologize for that, but I’m asking because I want to satisfy as many customers at the show as possible. Hopefully that counts for something!

Thanks in advance,

- Christopher

I hinted at it in some of my brief New York posts, but I thought I’d maybe blog a little more thoroughly about my conversation with Marc Weidenbaum, the fella at Viz in charge of Shonen Jump and Shojo Beat, about his work developing a new line of original comics for Viz. We found a bench to sit and chat for an hour on the Friday of the New York Comic Con–just after the announcement of ULTIMO! a collaboration between Stan Lee and Hiroyuki Takei debuting in Japan that very day. It’s worth noting that, for the purposes of journalistic integrity, Marc and I have become fairly cordial over the past few years, and our conversation about the new developments at Viz were much more friendly than professional. I even offered to send this to him before I posted it (something I don’t normally do) in case I got anything wrong, but he said not to bother. So, here’s my take on what’s happening at Viz with their forthcoming line of original comics.

First and foremost, Weidenbaum’s new title at Viz is “Editor-in-Chief, Magazines. Vice President, Original Publishing” which kind of makes sense, as the two manga magazines are where more-or-less all of the original content is being generated at Viz right now. The recent cover-art/interview/short comic by Bryan Lee O’Malley on Shoujo Beat sort of brought this fact to everyone’s attention, though Viz has done original content in the past, including a Pokemon comic strip for newspapers a few years ago. But the original publishing aspect of Marc’s title will likely become very important to the comics industry in the next few years.

According to Marc, it’s all about television.

Marc Weidenbaum: “We’re in a golden age of television right now,” specifically referring to the critically and commercially successful serialized entertainment offered up by HBO, BBC, Showtime, and even some of the networks. Marc feels that there are all of these wonderfully episodic shows that build up a serial storyline with amazing cliffhangers that you can’t miss. And he doesn’t seem inclined to cow-towing to any particular ’style’ or genre of story either, with a crime drama being just as interesting and well produced as a comedy or historical epic… Editorializing a bit here, it’s no mystery that Brian K. Vaughan (for example) was picked up for LOST–his work on Y: The Last Man, Ex Machina, and even Runaways is built on the gripping last-page reveal, and his work is structured in an incredibly compelling way. If I’m reading Marc correctly, he sees this not so much as a model, but as inspiration for a new line of comics work: One that has broad appeal, strong construction, and the benefit of a talented and trained editorial staff.

That last part is particularly intriguing to me, because while producing licensed material does have Viz editors sharing some of the same duties as their original-content producing counterparts in the rest of the North American comics industry–scheduling, proofing, working with creative talent–the Japanese editorial system, the one that Marc referenced a couple of times, is quite different and even more involved than anything you’ll find in North America… In a bit of a coincidence I picked up a new manga by Fanfare/Ponent-Mon at the New York Comic Con just before I was talking to Marc, called Disappearance Diary by Hideo Azuma. It’s about this manga-ka that goes nuts from stress and becomes a bum living in the mountains. In it, the protagonists manga editors are variously portrayed as abrasive, mean, and egomaniacs who threaten and taunt him, draw over his artwork to change it to their liking, and ignore or encourage any number of truly life-destroying behaviours on the part of Azuma-san… as long as the work comes in on time. It’s a comedy. And autobiography to boot.

But Marc’s a smart guy with–believe it or not!–creator interests at heart. He seemed to be talking about a sort of a hybrid system, where he and other editors at Viz had worked closely with Editors within the Japanese comics production system to learn from them, and have brought this system back to North America to put their own spin on it. This also tied in nicely to the fact that Viz’s big guest-of-honour the NYCC weekend wasn’t a manga-ka, but rather an editor, (one Mr. Asano who edits Bleach and Shaman King amongst other top-of-the-charts releases). Marc has a lot of respect for editing and editors in general, and the idea of working with a creator to produce the most successful and strongest possible work. It’s the kind of idea that I can feel myself bristling at, as I type it out now, but hearing it come out of Marc’s mouth I totally believed it… I do have to say that will not be the sort of editorial guidance that every creator is looking for, particularly not in an industry where the idea of editorial mandate from DC and Marvel has become so reviled that it seems every other comics publisher’s editorial guidelines are a hands-off reaction against them.

I was having a hard time getting an idea of this ‘line’ at this point in our conversation, what it might look like, and I couldn’t tell if it was going to be akin to Tokyopop’s “hire’m all and let the market sort’em out” original content strategy, or something a little different. So I asked him flat out–name five books published in the last few years that you could see as part of this line. His response? “None.” Really, not one book? “Not really, I don’t see a lot of the work fitting our ideas. Maybe elements of Scott Pilgrim come closest to it, or Ed Brubaker’s Scene of the Crime or Sleeper. Stuff that’s really good, solid concept-stuff but with a twist to it, a hook.” I believe I mentioned that Scene of the Crime and Sleeper sold fairly poorly at the time, but I don’t remember what, if any, response came of it.

Said I: “I’ve talked to a number of creators working in the ogn or straight-to-collection format, and many of them have very similar concerns about the system of creating a graphic novel with little-or-no input for a year, and releasing these graphic novels to sometimes little or no feedback, and then going back to the drawing board. The idea of shorter serialization has been floated as a possible remedy…” Marc responded that things were still up in the air regarding format, but had heard and shared many of the same concerns. We talked a little bit more about various successes and failures but Marc was reluctant to name names, which I can appreciate…

“You know,” I said. “As soon as I post this you’re going to get flooded with submissions. Horrible people sending you their ideas for a sequel to Dragonball Z, all that shit.”

He knew it, but made it pretty clear he had no interest in submissions right now. “Maybe in a few years we’ll open it up to submissions,” said Marc. “But right now I just want to see already completed work. What you’ve done, what you’re capable of.” So if you’re sitting on the world’s best manuscript for a 3400 part serial about a new level of Super-Saiyan, can it. At least for a little while. But I do have to say that Marc seemed quite genuine about wanting to see published work and specifically mentioned webcomics, mini-comics and self-pub’d work as well as professionally published material…

It’s at this point in the conversation that my friend writer Ray Fawkes (Apocaplipstix, coming this summer from Oni Press) walked by the little concrete benches where we were seated and came and said hello. Ray has 4 projects in development with four different publishers at the moment, is incredibly talented, and above-all sounded like the exact sort of person who would be doing books that would fit with Marc’s idea for the Viz Original Content Line. I introduced them and mentioned something to this effect, and sure enough there was a warm exchange of business cards and a plan to talk further about an exchange of work… So if Marc wasn’t being genuine when he said he would happily look at published work, he was at least putting on a good face in front of my friend ;).

Sidebar: It’s worth noting that at the big Viz Panel the next day, this exact situation came up. Here, I’ll quote from “A Geek By Any Other Name”:

“Someone just asked about whether they’d be accepting any original series, and they answered that they weren’t really looking for anything, which is a little counter to what Brigid and other bloggers heard yesterday.”

I think that’s a pretty clever answer, actually, because Marc made that quite clear to me as well: They aren’t looking for anything in particular. They’re looking for talented people who’ve done great work–at this point in the game–and are probably looking to develop something with them as opposed to just accepting or rejecting a pitch. An important bit of semantics!

Now, you have to understand, all the while I’m having this conversation with Marc… I’m feeling pretty good about all of this actually, but this nagging phrase wouldn’t stop repeating itself in the back of my mind: “THE TOKYOPOP DEAL”. I fucking hate The Tokyopop deal, flat out. It’s awful and abusive of young creators, and while I haven’t gotten up and shouted I TOLD YOU SO at anyone two years later, the number of disenfranchised and angry Tokyopop creators has more-or-less done the work for me. I’m not particularly happy about being right of course; it is, at best, a pyrrhic victory.
“Marc,” I said. “Who owns it?” I was honestly not anticipating the response.

“The creators do. It’s going to be a standard book-industry type contract, although even there we’re doing a bit of tweaking. I believe in that, and we wanted a fair deal.”

Huh, how about that. We discussed it a little further, mentioning things like other-media adaptation rights and all that, and while we really only talked in generalities, it all sounded really reasonable. Maybe even… good. Marc relayed an anecdote about visiting a comics class at SVA the previous week, I think either he mentioned either Tom Hart or Matt Madden or Jessica Abel were teaching, and he was talking about this very line. The instructor sort of built up this menacing tone and said “And now we’ve got a hard question for you, Marc! WHO OWNS THE WORK!?” which I have to admit that’s kind of amazing, that ownership and contract discussions are a part of comics instruction now. But Marc said “oh, the creators.” and just sort of deflated the instructor’s bubble (it was funny, not dickish, at least when Marc told it). You have no idea how heartening it was to hear this, the idea that copyright (amongst many other rights) would reside with the creators of the work. Of course, no contract is perfect and each one is different and be sure to get a lawyer to read things over before you sign them, etc., but just hearing an affirmative and positive reaction to creator ownership coming from the spokesperson for a massive international corporation? Even one with Marc’s long history of publishing and working with comics creators (google him)? It’s fantastic.

Our conversation sort of drifted from that point as it seemed that I’d wrapped up everything I had to ask, and started mulling over my opinions of the prospects of this line. I can’t help but feel that the possibilities of a company as well-invested and an editor as well-intentioned as Viz and Marc both are could seriously shake up comics production, where the money becomes in line in both frequency and scale as Marvel and DC; where they could develop a very creatively supportive but still professional environment; where serialization and the possibility of easy access to the Japanese market (and work produced in a Japanese-fashion) could attract a whole new generation of manga-inspired creators.

Moreso than Vertigo’s announcement at the show that they were actively scouting out “original graphic novels” and, to my mind, trying to directly take projects away from Oni Press, Slave Labor, and Top Shelf, this feels like something that just isn’t being done in the industry right now, but when laid out as Marc Weidenbaum did for me, makes it seem essential… Possibly even as important to original comics content creation as manga was to the bookstores. It doesn’t take a genius to see that serialized original content with a strong narrative hook and enticing cliffhangers are part-and-parcel of the manga experience… perhaps with Weidenbaum’s affection for top-notch (and often very mature) television shows and evocations of Brubaker’s crime fiction, this line of books could be that mythical ’stepping stone to adulthood’ that everyone wonders about for the aging manga demographic.

Or not. It’s pretty easy to look at what I’ve written here and see it as corporate-controlled comics, with nothing to offer the comics auteur. I can’t speak for Marc on this point but I do see validity to that point of view. There’s a reason that someone like Seth designs his books right down to hand-lettering the indicia and choosing the colour of the foil-stamping on the hardcover, you know? I don’t see that as what this line is about, and quite frankly there are lots of places to publish that sort of material that do it very well (Drawn & Quarterly, Fantagraphics, Pantheon, First Second, etc.). But a vision of the comics industry where compelling commercial comics don’t mean superheroes, half-assed movie pitches, or the occasional fluke from the majors (and let’s not forget that Y: The Last Man’s commissioning editor was fired by Vertigo shortly after its launch…!)? At the very least, you can put me on that mailing list.

Anyhow, those are my impressions of the conversation I had with Viz’s new Vice President of Original Publishing. All of which are subject to the haze of memory and just having come off of a panel where I sat 15 feet from Stan Lee for an hour. Following our chat I walked Marc to a cab and resisted the urge to invite myself to his dinner with important people from Japan, which showed some tact on my part (though obviously less-so now that I blogged it). I ended up having a great dinner anyway (thank you, Dave & Raina), and didn’t see Marc for the rest of the weekend. Just goes to show you that it’s important to make time when you can, at these sorts of shows.

Thanks again for being so generous with your time Marc! I hope your inbox is not immediately flooded.

- Christopher

Go check out the full test for Studio Ghibli director Yoshifumi Kondo’s take on an animated Little Nemo in Slumberland. It’s amazing:

http://video.google.com/videoplay?docid=3342755205038857742

And if you want to see a higher quality video (that mysteriously has about a minute of footage cut out of it…) check out:

http://www.youtube.com/watch?v=fnL-6yLzgWA

It’s pretty darned cool.

–

Edit: I decided to do a little more digging about this film clip, and found out something interesting. According to Nausicaa.net, one of the best fan-sites around (and devoted entirely to Studio Ghibli):

“Little Nemo” was an American/Japanese joint project, and [Hayao] Miyazaki and [Isao] Takahata were involved in the pre-production stage during 1982 and 1983. However, due to creative differences with the American producers, both quit the project. It was finally made into a movie with different staff members and released in 1989…

The film is currently out of print though it was apparently released on DVD in 2005… It was originally released on laser disc, and as a bonus, the laser disc includes two early animation tests for the film…

So it seems likely that this clip is from the Japanese LD release… I wonder if the test by Osamu Dezaki is available online as well? I’ve done a cursory search, but no luck.

Anyhow, all of this information and more can be found over at CartoonBrew, the apparent originator in this round of discussion about the work.

- Chris

Oh man… Japanese clothing retailer Uniqlo is helping celebrate the 50th Anniversary of Shonen Sunday Magazine by releasing a year’s worth of limited edition manga shirts! The first 10 shirts were released for sale on Monday, and feature a range of classic and contemporary manga series, all priced at just $15 a pop! I can’t figure out how to order them internationally, which means that you’ll probably have to pick them up IN Japan. But if you can? Duuuuuuuuuude. You instantly become the coolest otaku in town.

Shown above is the Ranma 1/2 shirt in black, by Rumiko Takahashi. If anyone’s headed to Japan in the next little while, I take an XXL…

More shirts:

Ashitaka No Joe

Cromartie Highschool!

Ge! Ge! Ge! no Kitaro! (Nifty)

- Chris

Customer interaction 1 minute ago.

[Customer is a full-grown man(child) standing in front of one of the anime cases, jumping up and down. Ostensibly to see the top shelf.]

Chris: Bit of glare on the case I guess, can I help you with anything sir?

Customer: Do you guys have sales?

Chris: Usually on boxing day. That’s about it…

Customer: Oh, I want that anime but it’s too expensive. That’s why I asked if you have sales. You guys should lower your prices or I’ll have to download it.

Chris: Excuse me?

Customer: People will download it if it’s too expensive. You should lower your prices.

Chris: So if you walked into a store and didn’t like the price of a can of coke you would just rob them?

Customer: Oh… uh, I’m not going to rob you.

Chris: You’re going to rob the company instead.

Customer: Yeah.

Chris: That’s awful. That’s awful.

Customer: Uh…

Chris: You are awful.

[Customer sheepishly leaves store.]

End Scene.

- Christopher

I think it’s important to point out that in the first issue of PiQ, the magazine calls its readership the following names: nerds, dorks, geeks, freaks, maniacs, and pervos.

They seem to mean these little bon mots with affection, but it does tell you quite clearly what the editorial staff thinks of its readership. Of course, the new magazine from ADV (nascent anime and manga publisher) is meant to replace Newtype USA, their former chronicle of otaku culture with a name and content licensed from the original Japanese Newtype magazine, and so some recognition that it is the hardcore fan who may be used to such derisive terms may simply be a way to ingratiate itself to the new readership. But it’s going to take a lot more than saying that we’re all nerds together and adopting the tagline “Entertainment for the rest of us” to convince me that they have anything to say, let alone that we’re all alike…

I previously covered PiQ magazine when I got my hands on the press-kit for the magazine prior to its release. The press kit broke down the aims of the magazine and their demographics quite clearly: they want men age 18-34. I’d say the magazine delivers on that promise, though they don’t quite realize that not every man in that demographic is interchangable…
I’m going to be upfront and say that I disliked the first issue. I’m not going to string you along listing good and bad before revealing my ultimate conclusion; PiQ Magazine #1 wasn’t very good. That out of the way, PiQ does have strengths to recommend it, and a lot of potential, but going by the first issue they’re going to have to work awfully hard to achieve any measure of success. It’s incredibly problematic and likely quite rushed, and with a lot of former Newtype readers already very, very angry at them, they’re going to need to improve, and quickly, to get a chance at long-term survival.

I’ve written an incredibly thorough page-by-page analysis of the magazine. It’s taken days to actually put it all together. I’ve included it behind the cut because people browsing here probably have no interest in a 6500 word essay on a magazine that they will never read, but when I say POST MORTEM I actually mean it. I am digging through the entrails of this thing CSI-style to find out what they’re doing and why. Don’t say I didn’t warn you, and you probably shouldn’t bother reading unless you’re really, really interested in the subject.

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