This is an old link, but Robort Boyd has posted a slideshow he delivered on Comixploitation! that rounds up some of the more egregious examples of horrible artistic rip-offs in comics over the years, from Siegel and Shuster and Jack Kirby on to modern day matters: So what’s it like for a comics freelancer today? […]
Founded in 1997, TokyoPop was one of the most influential publishers of the Aughts, driving the manga boom in the US as the first publisher to print manga in its original right-to-left format, a move that helped cement its authenticity among young readers. Later on their “original English language manga” line developed an entire generation of young creators working in a manga style, including Becky Cloonan and Amy Reeder Hadley. But it all came to an end in 2011 when the company shut down except for the German office. Owner and founder Stuart Levy went on to make a documentary about the Tohoku earthquake, even amidst continuing controversy about the reversion of rights to creators However there have been flickers of life since then, with some new digital publishing, licensing OEL books like King City to Image, and a TokyoPop-branded newsletter that was part of Nerdist’s adventures in that area.
Since TokyoPop never went bankrupt, it’s entirely possible that Levy can bring it back, as promised on the company’s about page:
[When visiting the German-language sites below, I suggest using Google Chrome, or another web browser which allows for easy translation of German. And if you read only one thing from this post, it should be this.] Guten Tag! Germany… it’s a bit of a conundrum in Continental comics. Smack dab in the middle of Europe, […]
Titan has socialed up the above image and some information:
We’ve been covering the sometimes glorious, sometimes ignominious history of Tokyopop for as long as there has been a Beat. Although its biggest legacy is as a manga innovator, its most notorious is the string of unfinished OEL—”original English Language”—series it left behind. An ambitious publishing program that put out dozens of new books by […]
With Toykopop hovering somewhere between somethingness and nothingness, one thing is certain: owner Stu Levy will never give the creators back their books as long as he might be able to leverage them in Hollywood. Fair enough; he paid the money and the creators signed those bad contracts. In case you came in late, back […]
Well, it turns out that Tokyopop wasn’t really dead…it was just resting. Since the manga pioneer closed up its LA office nearly two years ago, there have been eyelid flickers like a POD program for some popular ongoing manga and back issue sales via Right Stuf, creators reprinting or finishing their OEL books at other […]
As we’ve been noting, of late the ashes of Tokyopop have been stirring, and several volumes that were thought lost are actually coming out in one shape or another. BIZENGHAST #8 by M. Alice “Marty” LeGrow is the latest book to find a new life as a print-to-order book via The Right Stuf and digitally through Graphicly. BIZENGHAST was one of the most successful of all Tokyopop’s homegrown manga (as making it to volume 8 would indicate) and it’s been spun off into an art book, coloring book, novelization, animated shorts, merchandise, and a tabletop role-playing game, according to ICv2.
After hinting at it on their Facebook page for a while, Tokyopop’s surviving member, Stuart Levy, announced a little wee return…as a licensing entity, anyway. The Right Stuff, in conjunction with Genosha Comics, will republish three volumes of Himaruya Hidekaz‘s HETALIA: AXIS POWERS, including the first two—which came out from Toykopop before it imploded last year—and the never-before-in-English third book, which was in production when Tpop went away.
Listen to Heidi MacDonald, The Beat herself, discuss 2011 in comics on a special year-end edition of More To Come, the PW Comics World podcast! As you may or may not know, Heidi has been one of the hosts of our bi-weekly comics news podcast for the past several months. In this episode, Heidi MacDonald and her co-hosts PW Comics World editor Calvin Reid and I discuss the biggest trends and events of the past year, including…
GeekChicDaily, the daily nerd news email, is launching an edition for New York, and also teaming with the Tokyopop brand for a special edition spotlighting Japanese culture trends and news.
The New York edition will cover the Big Apple’s lively offerings in geek culture, following localized versions for LA and a national edition. GeekChicDaily also added Microsoft’s Mich Mathews to its board of directors.
When last we saw former Tokyopop owner and publisher Stu Levy, he was in Japan, sleeping in a truck on his way to deliver food to the victims of the March 11th Tohoku earthquake and tsunami that left parts of the country devastated. At the same time that Toykopop was shutting down for good, Levy announced his intention to spend a year making a documentary about the disaster and the survivor’s heroic efforts to help others through the tough times.
Well, now there’s a trailer for this documentary and a Kickstarter page looking to raise $20,000 for post (color grading, etc) and marketing for the film, whose purpose he explains thusly:
Tokyopop is closing down its manga line. Not long ago, this company and others like it were sometimes pointed to as the future of comics publishing. I suppose they still might be.
Although the news coming on a Friday afternoon news dump did dampen response a bit, there has been a ton of reaction to Toykopop shutting down its US publishing activities.
On the America’s Greatest Otaku website, Tpop publisher Stuart Levy recently wrote about his plans to move to Japan and make a documentary, surely not the thoughts of a man looking to revitalize his publishing plan.
The comics publishing culling of 2011 claimed its most prominent victim as it was announced today that Tokyopop is shutting down its US operations, as of May 31. The German office will stay open to handle publishing rights and the film division will continue.
Founded in 1997, Tokyopop and its founder Stu Levy were at the forefront of the manga revolution in the US, introducing such hits as SAILOR MOON, CHOBITS, and LOVE HINA to the US market in the “unflipped” format for the first time.
Sales surged as the manga bookstore revolution took over in the early part of the last decade. An ambitious program of publishing original manga by creators from around the world — many of them barely out of the teenaged readership years themselves — proved controversial and ultimately saw only a handful of successful franchises but introduced a new generation of creators to the comics scene.