Just got back from a very thought-provoking and inspirational meeting with editor E-san and my buddy Ryusuke. Like, holy shit. I dunno where to start. From the beginning, I guess.
Last week, Ryusuke asked if I'd like to sit-in on one of his monthly meetings he has with his editor to watch them discuss plot points and other business related things. I've learned that it's standard practice here to meet once a month in person to go back and forth over scripts and breakdowns. A practice which I quite dig, to be honest. It's a lot more personal than e-mail and allows for more interaction than a phone call. No wonder most manga-hopefuls move to Tokyo.
We met at a nice coffee shop in Shinjuku and after the formalities E-san and Ryusuke did there thing. I've never written a script for Marvel so I'm don't know how much input the editor has in terms of plot or dialogue but I was amazed to see these two tossing around ideas while agreeing and disagreeing but never arguing. Ryusuke described it as being told what was weak with his ideas but in a manner which allowed him to reassess and improve. He also mentioned that one of the crucial steps in becoming a successful creator is being paired with a successful editor. One that you can get along with and understands you as well as having a strong enough spine to openly state what's yay or nay with follow-up suggestions. So, in a way, he's like a therapist.
They continued to talk about a potential signing event and other tie-ins and how his comic should end. They stressed that they plan stories with the trade in mind since weekly and monthly magazine sales have been steadily dropping and that it was a growing trend in Japan. Sounds familiar. They wrapped up their business talk and then we discussed my situation and offered me advice. I showed them my sketchbook, some BFX pages and a few original MJ pages. They were both really into the MJ pages saying that they rarely see anything in pencil anymore. It's usually either inked or digital print-outs. Anyway, the jist of what E-san told me can be broken down into 3 points:
1. Understand j-storytelling, modify my pages for right-to-left reading and compose the layout for a spread. Not a single page.
E-san mentioned that he loved Hellboy but a direct reprinting of the material in a j-magazine would never fly. The merits of decompressed storytelling have been debated to death over the net but when it comes down to working in Japan, the work must be told in a visual manner that readers here are accustomed to. It's as simple as that. I feel I've been able to sustain a more j-friendly style during my time at Marvel and, at the same time, experiment with things through BFX. I'm about 80% confident. When I first began drawing sequentials it was right-to-left so I don't think I'll have much trouble with that but I'll see how it goes once I start thumbnailing. Composing for a spread is something I failed to consider, though. How dumb is that, eh? I'm used to having Chevy ads on every second page. I've stuck with square panels throughout my career but I may have to rethink this.
2. Find a magazine or publication that will accomodate my work whether it be look or genre.
With dropping sales, many publications have resorted to specializing. So, a magazine geared towards 30~40 something males will only have comics with themes relating to their needs and lifestyle. Salariiman Kintaro is a good example of a specialized comic. Same goes for comics geared towards housewives or cooking fans or pachinko fans but think of a magazine with nothing but. The reader must be thought of first and foremost over creator wants or ambitions. This is not a universal rule since many breakout titles don't fit formulas but, they too, have a solid grasp of who is or isn't reading. E-san mentioned the recent influx of gentsuke comics which are comics with an attached and established property. Many new artists are going this route or are even suggested to begin this way since it alleviates much of the writing and allows for more drawing. A number of books done in this manner sell purely through the strength of the art and are supported by the artist's fandom. The downside to starting this way, though, is that you run the risk of not being accepted otherwise.
3. Unfortunately, I forget this last point. I recall it having to do with the above somehow. I should've been taking notes...
We headed for some yakiniku (j-barbecue) afterwards and talked about life and stuff which was a perfect way to end the evening. I've been very fortunate to meet so many generous and supportive artists and editors so early on in my stay. I've been asked to produce a short thumbnailed story with text so that will be what I'll be doing from here on in. I was convinced I'd have to have a finished and polished product but I've been told my experience at Marvel is a definite asset and gives me a leg up compared to an average rookie. Kudos once again Marvel.
So, yeah. The gears are in motion.
TAK
Last week, Ryusuke asked if I'd like to sit-in on one of his monthly meetings he has with his editor to watch them discuss plot points and other business related things. I've learned that it's standard practice here to meet once a month in person to go back and forth over scripts and breakdowns. A practice which I quite dig, to be honest. It's a lot more personal than e-mail and allows for more interaction than a phone call. No wonder most manga-hopefuls move to Tokyo.
We met at a nice coffee shop in Shinjuku and after the formalities E-san and Ryusuke did there thing. I've never written a script for Marvel so I'm don't know how much input the editor has in terms of plot or dialogue but I was amazed to see these two tossing around ideas while agreeing and disagreeing but never arguing. Ryusuke described it as being told what was weak with his ideas but in a manner which allowed him to reassess and improve. He also mentioned that one of the crucial steps in becoming a successful creator is being paired with a successful editor. One that you can get along with and understands you as well as having a strong enough spine to openly state what's yay or nay with follow-up suggestions. So, in a way, he's like a therapist.
They continued to talk about a potential signing event and other tie-ins and how his comic should end. They stressed that they plan stories with the trade in mind since weekly and monthly magazine sales have been steadily dropping and that it was a growing trend in Japan. Sounds familiar. They wrapped up their business talk and then we discussed my situation and offered me advice. I showed them my sketchbook, some BFX pages and a few original MJ pages. They were both really into the MJ pages saying that they rarely see anything in pencil anymore. It's usually either inked or digital print-outs. Anyway, the jist of what E-san told me can be broken down into 3 points:
1. Understand j-storytelling, modify my pages for right-to-left reading and compose the layout for a spread. Not a single page.
E-san mentioned that he loved Hellboy but a direct reprinting of the material in a j-magazine would never fly. The merits of decompressed storytelling have been debated to death over the net but when it comes down to working in Japan, the work must be told in a visual manner that readers here are accustomed to. It's as simple as that. I feel I've been able to sustain a more j-friendly style during my time at Marvel and, at the same time, experiment with things through BFX. I'm about 80% confident. When I first began drawing sequentials it was right-to-left so I don't think I'll have much trouble with that but I'll see how it goes once I start thumbnailing. Composing for a spread is something I failed to consider, though. How dumb is that, eh? I'm used to having Chevy ads on every second page. I've stuck with square panels throughout my career but I may have to rethink this.
2. Find a magazine or publication that will accomodate my work whether it be look or genre.
With dropping sales, many publications have resorted to specializing. So, a magazine geared towards 30~40 something males will only have comics with themes relating to their needs and lifestyle. Salariiman Kintaro is a good example of a specialized comic. Same goes for comics geared towards housewives or cooking fans or pachinko fans but think of a magazine with nothing but. The reader must be thought of first and foremost over creator wants or ambitions. This is not a universal rule since many breakout titles don't fit formulas but, they too, have a solid grasp of who is or isn't reading. E-san mentioned the recent influx of gentsuke comics which are comics with an attached and established property. Many new artists are going this route or are even suggested to begin this way since it alleviates much of the writing and allows for more drawing. A number of books done in this manner sell purely through the strength of the art and are supported by the artist's fandom. The downside to starting this way, though, is that you run the risk of not being accepted otherwise.
3. Unfortunately, I forget this last point. I recall it having to do with the above somehow. I should've been taking notes...
We headed for some yakiniku (j-barbecue) afterwards and talked about life and stuff which was a perfect way to end the evening. I've been very fortunate to meet so many generous and supportive artists and editors so early on in my stay. I've been asked to produce a short thumbnailed story with text so that will be what I'll be doing from here on in. I was convinced I'd have to have a finished and polished product but I've been told my experience at Marvel is a definite asset and gives me a leg up compared to an average rookie. Kudos once again Marvel.
So, yeah. The gears are in motion.
TAK
posted by TAK at 11:22 PM
