The Waking: Interview Question

The Dreaming: Is out on the shelves, and online. I’ve still got my list of Australian bookstores up, and the latest preview chapter for the book is still up on the TOKYOPOP site. I’ve been told that “The Dreaming” has been sold out at Sydney’s Kinokuniya and Kings Comics, and that for Melbournians you can find it at Minotaur (see the list for details).

I’ve recovered from the worst of my flu, though I’ll probably have a residual cough for weeks. I also snuck some photoes of my Bangalore trip up on my LJ entry. But anyway, recently I’ve been interviewed by Kai-Ming Cha for Publisher’s Weekly Comics Week. For those who don’t know, it’s part of Publisher’s Weekly and you can subscribe to their email newsletter here. They on a one-week break so it’ll be out the week after, but it was a very fun interview and Kai-Ming asked some good questions. There is one question in particular that I replied in detail to, and which I’ve posted here for people’s interest.

As usual, it’s my opinion, so feel free to make any comments.

 

Question: On your website you have an essay that references the prevalence of Japanese manga throughout Asia, including Hong Kong, that has all but squeezed out local talent. There are other comments like this that have been made in countries like Thailand and China. With the strength of Japanese comics, local comics culture and style doesn’t seem to stand a chance. What are you thoughts on this?

 

You’ve just said my thoughts on this. *laughs* Local comics culture just doesn’t stand a chance, except for the nostalgia value of certain strips. Nostalgia does nothing though, besides recycling old material that may or may not be timeless, but if you’re not moving ahead and creating new material, you’re not expanding the readership for graphic literature. Mostly, if it can be said to be a “problem”, is that there isn’t a “manga culture” in whatever country the Japanese pop-culture juggernaut has colonised in the past 10-20 years. And it’s important to remember that manga comes attached with anime, video games, cosplay and J-pop; making it an all-consuming lifestyle that can be very appealing to young people. In theory, there’s nothing wrong with that because it should encourage said countries to develop their own comics, except that it’s not really happening.

Part of the reason is because manga that is read by children in Japan is exported and read by adults in other countries. Manga in Japan is very gender and age-conscious, so in theory, people over a certain age wouldn’t read certain kinds of manga (with exceptions ofcourse). Manga-reading Japanese adults read manga catered to their tastes, which are the sort of mature, adult-oriented (NOT meaning pornographic) manga that become best-sellers in their own right. Manga you barely see people reading overseas, because the 25 year-olds there are reading what 8 year-old Japanese kids are reading. That creates a bit of a problem in terms of choices for the 25 year-old casual manga readers who are tired of stories aimed at teenagers and want to read something more mature.

In theory, the companies can import the more mature Japanese manga and satisfy those readers, but in the Asian countries I’ve observed, it’s never really caught on. The trouble with salaryman and office lady manga, or seinen and josei manga, is that the latter appeals to more narrow, culturally-specific tastes. Teen angst and action-adventure is the same for teens everywhere, but people who have left high school don’t see salaryman manga as a reflection of their working experiences. Japan has a work culture and adult life that is culturally unique to that country, and other Asians who were casual manga readers as teenagers aren’t nearly as interested in salaryman or OL manga because from their point of view, it’s got nothing to do with their own lives. So the pool of casual manga readers shrink, leaving the young-at-heart to continue reading teen manga and riding the Japanese pop-culture wave.

This means that local comic artists are left to compete with teen manga for a readership that is adolescent at heart. None of them has been all that successful, because the Japanese do teen-oriented manga so incredibly well, and has multiple arms of the Japanese pop-culture machine helping out. There’s no reason for any local publisher to invest in local talent when they can get all the money-making franchises they need out of Japan, and they’re not interested in reaching out to older readers either. So in essence, you have a “manga culture” in manga-reading countries where unlike Japan, most readers are stuck in the “teen manga” phase. So the readership isn’t maturing at all, giving no incentive to produce mature works.

 

Afterthoughts: Sometimes the nationalism thing comes into it too. Some of Kaiji Kawaguchi’s work comes to mind – while it’s never stopped anyone from translating political/thriller manga in Asia, I find it uncomfortable to read manga about how the course or World War II may have been altered to have the Japanese win instead of the Allied Nations (and some such). These are clearly adult stories and not meant to be provocative to other Asian nations, but it shows a side of the nation that Chinese and Koreans particularly hate. World War II is a topic you rarely, if ever, see in shoujo and shounen manga, and perhaps for good reason.

The Waking: To India!

India: I’m finally leaving tomorrow for India, until the 10th December. I was supposed to leave on the 17th, but just about everything that could go wrong with the preparations on this trip has gone wrong, so it’s all been delayed. Since it’s the last time I have to post news up, I’ll make sure I post something good, and a flurry of activity this week has been great. For starters, here’s an another Interview with me at “The Pulse”.

 

The Dreaming: This will be out in December, and the list of Australian Stores where you can buy “The Dreaming” is still here. By the time I get back, Chapter 3 will be up, but Chapter 2 is still available for November as of now. And I finally got the final version books for “The Dreaming”! I must say, I’m impressed by how it turned out. I was always afraid that the book’s tones will be printed too light, since I used Corel Photo-Paint rather than Photoshop for toning, but it turned out pretty much the same shade I wanted it to. So I’m happy with what it looks like.

 

The Dreaming Bonuses: Paper dolls! I drew some cute paper dolls for the book way back in August, and they’re there, as is Sarah Ferrick’s short story “Locker No. 246”. It’s a great plus to the additional material – not only does it give other artists some exposure, but it feels you’re getting more for your buck (which you are). It’s great when you don’t feel you’re getting a whole chunk of advertisements at the back. In fact, there are only TWO pages of advertisements in this book (I’m totally amazed). The entire book is 192 pages (not counting the paper dolls), so what you’re getting is effectively 190 pages of solid material. This must be the sole OEL manga release I’ve seen that has so little advertisements!

 

Seven Seas picks up Webcomics!: A Publisher’s Weekly article points to a great phenomenon – webcomics being considered by a book publisher! That publisher is Seven Seas, and kudos to them for also giving full rights to the creators of the webcomics as well. But my point of interest is mostly in the webcomics sphere of things. As I posed in the Engine, there are alot of bad webcomics out there, who at times can swamp the good ones in terms of sheer volume, but a book publisher taking an active interest in webcomics… it raises the legitimacy of webcomics. I would know that better than anyone, since I spent alot of my former time drawing webcomics and thinking that no publisher is going to take an interest, because I’m doing WEBCOMICS, and anyone with a web connection can do that. And somehow, through association, that kinda made webcomics “illegitimate” or something.

But now that webcomics are being given as serious a consideration as any pitch shoved under an editor’s nose at a convention (or in my case, mailed to a company)… that’s WONDERFUL NEWS!! It means that I can continue drawing the longer webcomics I have on my site, like “Keeper of the Soul”, “N.S.E.W.” and “Yuen”, which I previously stopped because I believed there was no way in hell a “REAL” publisher was going to take an interest in something that started as a webcomic. And so I started pitching to companies like TOKYOPOP, where I at least have a chance to be published in book form.

Plainly-spoken, back when I still had time to do webcomics, I considered it mostly a dead-end place where I can download my ideas, test new art styles or come up with new stories. That I didn’t mind, but thinking of the webcomics sphere as something that can be a bridge to being professionally published, rather than a freebie black-hole on the Internet, is liberating. It’ll also be encouraging for other webcomic artists, and a good place to see whether you can draw a story over the long-haul – not least because if you’re getting published, that’s exactly what you’ll have to do.

I always say that I’ll never give up drawing webcomics, and suddenly I feel I’ve been vindicated or something.

 

Art Overhaul: I’m starting to change my art style for my next projects again, and I find myself gravitating towards a more realistic art style. Aside from an aesthetic point of view, I find that it’s also a necessity – some of the other projects I want to work on will demand a more mature, realistic art style than what I’m currently drawing. Granted, the look of “The Dreaming” is unique, especially in the toning; it was a look specifically developed for a ghost-story set in a haunted Victorian-style school. The vast amount of greyscale toning meant that I had to forego cross-hatching, something that I really miss and is eager to get back into. Since I doubt I’ll ever do another “haunted school” story again, I doubt I’ll ever draw a story that is as heavily toned as “The Dreaming” is.

 

Link smiling

Here's Link again, looking rather happy. I suck ass at drawing realistic faces, so I'm doing some training in my spare time.

 

About moving towards a more realistic art style, this has got to do with shedding my earlier artistic influences. My earliest role models were Rumiko Takahashi (Ranma 1/2), Adatchi Mitsuru (Touch) and Watsuki Nobuhiro (Rurouni Kenshin), with Nobuhiro’s work being my “ideal” for action scenes (not that I was drawing alot of those). Granted, these artists’ work are still fantastic, but they all have something in common which I don’t want to draw anymore – namely big-eyed, anime-esque people. Their linework is simple and effective, but… hey, I like details. THAT has always been true.

Nowadays, I find myself wanting to emulate artists like Kentarou Miura (Berserk), Yoshitaka Hoshino (2001: Nights), and Kasuhiro Otomo (Akira) when it comes to action. These guys all have something in common – their artwork looks very realistic, and they have styles that are almost illustrational. Which is good for me. Granted, I’m not necessarily interested in drawing IN a realistic art style – rather, I want to be ABLE to draw realistically, so I can tell a certain type of story that isn’t as effective in a cartoony style. I can always revert back to a cartoony style, and indeed, some stories such as “Yuen” work FAR better in a simplified style than it will in a realistic one. And yet, I have serious historical, fantasy and sci-fi stories that will look alot better if told in a realistic, naturalistic form.

 

Saigon Art

 

Here’s a style that kinda straddles the borders. It was drawn rather small, so it’s missing details, but the general idea are to draw people and surroundings that will look photo-realistic. Because of that, I used a more scratchy style of inking, some cross-hatching, and dot-toning, which gives it a more roughened look. I’m afraid greyscale toning is so smooth it doesn’t make things look “real”.

 

Otomo Action Scene

 

I want to draw action like Otomo!! I got the speedlines down, but Otomo’s inking is a lot rougher in some respects. Ah well, I can’t exactly emulate Otomo anyway, so using speedlines to give a sense of motion and urgency’s good enough. It’s just practice, so what’s happening here and why, or what these guys look like ain’t important.

 

The Waking: 2D-Fighting Game to Download!!

The Dreaming: There’s a positive review of the book already up at AnimeFringe.com!

 

Article at Newsrama: It’s mighty strange to be called “Chan”… not least because there are so many “Chans” around. I would prefer to be called “Queenie”, not least because there are alot less “Queenies” around. Anyway, to be fair, AnimeBoredom is running the transcript of the interview if you want that version.

 

2D-fighting game: Most of you may know I now work part-time at a gaming company, colouring animation frames for a 2D-fighting game. The game is called Chaos Code, and will be published in Japan and South-East Asia by Arc System Works, which is the company that published Guilty Gear. It will be released in PC format, because despite being quite suitable for PS2 and the XBox, the game is meant to be available for online challenges. The PS2 has internet connection, but it’s not a fast enough connection to play fighting games on (RPGs okay), so the game wasn’t developed for either the XBox or PS2 because there’s not much point in ONLY developing it for the XBox. It costs money, you know, to reprogram the game to a console.

I’m unable to show any art, because the project is co-owned partly by the publisher, and no promotions are to be done without their approval. However, I can tell you how this small company in Sydney managed to snag a contract with a big Japanese gaming publisher. The company, called FKDigital, started off with a couple of guys who liked to draw, and then one day decided to do “art with a purpose”. They’re obsessed with 2D-fighting games, so they decided to make one themselves. And it was when Arc System Works saw this fan game, that they decided to hire these guys, who just went on to form a studio. Quite frankly, this is a very impressive game.

The game is made in KakutouTsukuri, which is like the 2D-fighting version of RPGMaker. I know all about RPGMaker so I understand the mechanics behind this game, and people who have RPGMaker knows that it can have error messages show up when you load it to non-RPGMaker installed systems. Well, same problem here. The game will work beautifully on some computers, and be real buggy on others.

 

New Art: I’ve gained myself a new idol. I want to draw like Kentarou Miura of Berserk. I kid you not. His art is fantastic, and despite not having an ounce of feminity to it, is able to express emotional moments very well. Berserk was always my all-time favourite violent manga, but after having the chance to sit down and actually read it from the beginning to vol28, I have to say I am floored by the skill of the art. I’ve always loved black and white art, with cross-hatching, and I adore fantasy stories as well. So I actually bought volumes of Berserk just so I can copy the art.

This is the first time I’ve EVER wanted to directly copy a manga-artist’s art – quite frankly, up until now, I have NEVER attempted to open a manga and copy what’s inside. I made it a point not to, because if I did, my art will end up being a copy of that artist’s art, and back when I was trying to find my own style, I decided it would be a very bad thing. So, I have a great deal of aversion to copying another artist’s art. Even now, I’m only studying Berserk art and putting it down before drawing it.

Girls wanting to draw in the Berserk style must be quite rare, but I can’t help it if I like sweeping canvases, illustration-level drawings and adventure stories. Explains why I’ve never had great passion for “typical shoujo”, though there’s alot of good shoujo out there. I prefer a strong, muscular style of story-telling that is solid, tells you what’s going on without going Super-deformed, and about complex issues. This calls for a more “serious” and “mature” style of art, so perhaps now is a good time to start practicing. And besides, I need all the help I can get on anatomy anyway.

 

Legend of Zelda fanart

More Zelda FanArt. This is probably what Link will look like if he ever ended up (Nintendo forbid) in Berserk.

 

Link's Face

None of these took me very long to draw – but they’re hard because I have to THINK about it. I also had to even adjust the wireframes, because a more realistic style of art calls for… a more realistic drawing style. Which is something I lack training in, and god, self-teaching myself is damn hard!

The Dreaming: Stores in Australia

Here’s a list of stores in Australia that is stocking “The Dreaming”. There are exceptions though, and that’ll be the Borders Stores, which I’ve still been unable to confirm whether stocks the books or not. Apart from that, the book will also be available in most American chain bookstores such as Borders, Barnes and Noble, and Waldenbooks.

The stores in italics are unconfirmed.

 

–SYDNEY–

Kinokuniya Bookstore
Level 2, The Galleries Victoria
500 George St, Sydney
Ph: (02) 9262-7996

Kings Comics
http://www.kingscomics.com/
310 Pitt St,
Sydney NSW 2000
Ph: (02) 9267-5615

The Phantom Zone – Chatswood
http://www.phantomzone.com.au/
21 Anderson St
Chatswood NSW 2067
Ph: (02) 9411-3709

The Phantom Zone – Parramatta
http://www.phantomzone.com.au/
Shop 22C, Horwood Place
Parramatta NSW 2150
Ph: (02) 9891-1848

Borders Bookstore – Sydney
Shop 452, Macquarie Centre
North Ryde, NSW 2113
Ph: (02) 9878-4322

Borders Bookstore – Bondi Junction
Shops 4064-4066,
500 Oxford Street
Bondi Junction, NSW 2022
Ph: (02) 9389-2200

Borders Bookstores – Hornsby
236 Pacific Highway
Hornsby, NSW 2077
Ph: (02) 9477-4422

 

–MELBOURNE–

Minotaur Bookstore
http://www.minotaur.com.au/
121 Elizabeth St,
Melbourne VIC 3000
Ph: (03) 9670-5414

Borders Bookstore – Melbourne
Melbourne Central
Latrobe St Building
Melbourne VIC 3000
Ph: (03) 9663-8909

Borders Bookstore – Knox
Shop 3110, Knox City Shopping Centre
Wantirna, South Victoria 3152
Ph: (03) 9887-2211

 

–CANBERRA–

Impact Comics
http://www.impactcomics.com.au/
Level 1, 45 East Row,
Canberra ACT 2601
Ph: (02) 6248-7335

House of Heroes
http://www.houseofheroes.com.au/
Unit 1, 61 Colbee Court,
Phillip ACT 2606
Ph: (02) 6282-0070

Dee’s Books and Comics
http://www.deescomics.com/
55 Lathlain St
Belconnen ACT 2617
Ph: (02) 6253-2277

 

–BRISBANE–

Daily Planet
Shop 2B Hoyt’s Regent Bldg.,
114 Elizabeth Street,
Brisbane QLD 4000
Ph: (07) 3221-8064

Ace Comics & Games
Level 2, 121 Queen Street
Brisbane QLD 4000

 

–PERTH–

Quality Comics
http://www.qualitycomics.com.au
872 Hay Street,
Perth 6000
Ph: (08) 9321 2168


–DARWIN/N.T.–

Comics N.T.
Trower Road
Casuarina Plaza
Casuarina
Northern Territory 0810
Ph: (08) 8945 5655

 

–ONLINE STORES–

Amazon Online

http://www.amazon.com/gp/product/1598163825/104-6436143-5915925?v=glance&n=283155&s=books&v=glance