Getting to Know: Stuart Levy and TOKYOPOP Part 9

Please read Part 8 of the interview before reading Part 9

Do You Still Feel the Same Way?

I read in a Time.com article that “Viz Media contends that true manga is made only in Japan--which isn't surprising, since Viz has access to Japanese titles. TOKYOPOP CEO Stu Levy disagrees: "Manga is like hip-hop. It's a lifestyle. To say that you can't draw it because you don't have the DNA is just silly."” I found it interesting that he mentioned “DNA” and “hip-hop.” After all these years, I wanted to know if Levy still felt the same way? If so, why? Boy did he give me a long explanation. Here it is:

Looking back, I realize that one of the great confusions within the American manga market has been the definition of the term “manga.” I sometimes read online debates about this topic. Of course, I have a lot of opinions and would love to jump into those debates but have so far restrained myself because everyone has subjective opinions, and there is no “right or wrong.” Because my background is in the Japanese culture and language, sometimes I misjudge how Americans without that background will react to the culture when we import it. The word “manga” is one example. As I mentioned, I’m proud that this word has become commonplace but it’s meaning in America has ended up being more narrowly defined than its meaning in Japan. In Japan, manga is inclusive of all “sequential art” (i.e. “comics”). As everyone knows who studies the language, the kanji for manga literally means the rough equivalent of “entertaining pictures.” The Japanese pronunciation of the words “comics” (i.e. “komikku” or “komikkusu”) also exists and is also inclusive of Western and Japanese sequential art. But in America, “manga” is taken to mean a certainly style of sequential art that originates in Japan. I don’t think anyone has objectively defined this style – many people have their own version of this definition.

To me, the key aspect of manga (meaning the presence of sequential art in Japan and its position in the society) that is not in America’s traditional “comics” industry is the ubiquity of the art form throughout the culture. That is what makes Japan unique when it comes to sequential art – and gives “manga” so much power there. It truly influences a wide aspect of their society.

My contention and hope was that this influential positioning of manga (i.e. sequential art) in Japan is so powerful that it has influenced fans worldwide and that “revolution” and movement would continue to grow in influence even outside of Japan. In that sense, I compared it to hip-hop because hip-hop becomes such an influential movement that it spanned the globe and became a fabric of youth lifestyle worldwide.

I think what’s happening now is that “graphic novels” in America have come to life. Western comics were at their lowest when TOKYOPOP started – and there was even talk of comics disappearing as an industry. One reason we used the term “manga” was because we felt its power was, at the time, much stronger than the power of the term “comics,” and certainly the market revealed that back then (around 2003-2004). But ultimately what happened was manga’s growth inspired western creators and brought life to the graphic novel market…I remember a breakfast with DC Comics’ president Paul Levitz. Paul thanked me for being the catalyst to the fantastic growth in the Western comics and graphic novel segment. I jokingly asked him if I could get a royalty for that, but he simply laughed and shook his head. But I was truly honored that he saw the connection between TOKYOPOP, manga’s growth and the eventual resurgence of Western comics.

So, ultimately, what I was referring to in that article is now happening, but not with the term “manga” per se, but with a few terms such as “graphic novel”, “comic,” and “manga.” Frankly, I wish there was one term the entire industry would use because I do believe that sequential art from all over the world is an engaging and exciting form of entertainment, and a part of overall “visual art” which includes, of course, film.

I do think that Japan as a culture still values sequential art (manga) more than we do here in America. I don’t think it’s because of DNA but it is because of the decades, perhaps centuries, of exposure to manga of all styles, genres and approaches. Thus, it’s nurture not nature. Perhaps one day America will get there – it’s certainly closer than it’s ever been to recognizing sequential art as a legitimate and influential medium.

© 2010 Linda Thai

Artwork by Linda Thai

Note: The artwork is just for entertainment, cause there is A LOT of text to read.

Stay tune for Part 10 of the Stuart Levy interview!