Ask John: What Are the Chances of an American Becoming a Manga Artist?

Question:
What are the chances of letting someone outside of Japan become an official manga artist? Also, how hard is it exactly to become a manga-ka?

Answer:
Before going in depth, I feel it necessary to state that my response is based on my own subjective feelings, so consider my answer as merely one opinion, not an absolute, authoritative statement of fact.

It’s somewhat difficult to define the chances of becoming an “official” manga artist in part because the characteristics and definition of “manga artist” have changed drastically in the English speaking world within the past year or so. Traditionally, manga is the art of Japanese comics. By this definition, manga is essentially comics created by Japanese artists, published in Japan, intended for Japanese readers. With this strict, traditional definition, it’s virtually impossible for a foreigner to become a true manga artist. My knowledge of the manga industry is a bit limited, but within that scope of knowledge, I’ve never heard of a non-Japanese artist having had original comics created for Japanese readers published in Japan. The manga industry relatively dwarfs the anime industry in Japan, and Japan’s professional industry is surrounded by the world’s largest community of amateur comic artists- doujinshi creators. In a fair competition, a single foreign comic artist probably doesn’t stand much chance of getting noticed within a crowd of hundreds of thousands of Japanese artists also hoping to win professional publication contracts. At first, an American artist may presume an advantage by thinking that a foreign perspective would be highly desirable in Japan’s comic publishing industry. But in fact, being a foreigner probably has the opposite effect. It’s to be expected that an American or European comic artist probably doesn’t know exactly what appeals to Japanese comic readers. Without any apprenticeship or years of experience, foreign comic artists also probably aren’t as familiar with the technical characteristics of manga as native Japanese artists will be. In Japan’s highly competitive manga industry, publishers are interested in creators with potential to appeal to Japanese readers, not artists with a potential to alienate Japanese readers due to a lack of familiarity with Japanese tastes and preferences.

Furthermore, Japan’s manga industry works on notoriously tight deadlines. For every one Masamune Shirow or Kazushi Hagiwara that’s famous for missing deadlines, there are hundreds of manga artists that struggle and work long hours to get their manga serials completed before publishing deadlines. With an ongoing serial, it’s doubtful that Japanese publishers will be eager to work with artists that aren’t nearby. Works such as Todd McFarlane’s Spawn have been translated into Japanese and published in Japan after their American release, but such works certainly aren’t manga. For a current, continuing serial, having to discuss editorial changes between an editor in Japan and an artist in America is just too time consuming and difficult. It’s far easier for a Japanese publisher to save the headache by just working with a local Japanese artist instead.

But with the sudden explosive popularity of manga in America, the very definition of manga is changing in the English speaking world. Companies like TOKYOPOP and AD Vision now make no distinction between Korean comics and Japanese comics, or even American comics drawn in a “manga style.” While it’s not impossible for a foreign artist to become an acknowledged, professional manga creator in Japan, the obstacles to such a goal are tremendous. Foreign artists are at a disadvantage merely because they’re foreign. But if your definition of “manga” is akin to the contemporary American definition of any comic that resembles Japanese art, your chances of becoming a recognized manga artist are much improved. Digital Manga and TOKYOPOP have sponsored contests to recognize talented American manga-style comic artists. Winning such a contest is an immediate route to international recognition as a comic artist. There’s also the self-publishing option, which works in Japan, and has worked in America. Countless professional Japanese manga artists got their start by publishing their own comics. The best known American example is MegaTokyo creator Fred Gallagher, whose web comic eventually snowballed into a successful professional publishing contract and career.

Anyone at all can become a comic artist. And anyone at all who wishes to can emulate Japanese comic art style. The burgeoning American market for manga is a fertile ground for American comic artists with the determine and discipline to succeed. Succeeding as a manga artist in Japan is a far more difficult and, honestly, less likely possibility, but nevertheless still a possibility. Based on even statements made by many established and respected Japanese manga artists, exceptional talent isn’t even mandatory as artists hone their skills through experience. The most important and determining factor in becoming a successful manga artist, in either America or Japan, is perseverance. Based on history, experience, and my scope of knowledge of anime and manga, I think it’s appropriate to say that when it comes to manga and anime, nothing is impossible.