Today on the site we begin a tribute post to the great Yoshihiro Tatsumi, who passed away over the weekend. Adrian Tomine, who brought Tatsumi to Drawn & Quarterly, begins, followed by Anne Ishii.
We also have Gary Groth's 2006 interview with Tatsumi, the longest English-language interview with the cartoonist ever published.
GROTH: You were a manga publisher in the ’50s, so naturally, I want to know how that came about. Did that come after you moved to Tokyo? And what kind of manga did you publish? Gekiga, or Tezuka’s kind, or some other kind?
TATSUMI: After I moved to Tokyo, I was essentially out of work. So I started my own publishing company out of necessity, primarily so I could continue publishing my own work. As I said before, a person who was running a vegetable stand could start a publishing company, so it didn’t require very much capital, and it so happened that at the time I had a friend who moved out from Tokyo who had just sold his house, so he was willing to put up the kind of start-up costs for a publishing company. I started a publishing company to continue to publish my works for the rental comic-book industry. But eventually, there weren’t any comic-book rental stores, so obviously, there was no distribution route left for me to use. Then I started to publish books that would be sold at regular retailers.
Maybe I didn’t touch on this, but the rental-books industry and the regular publishing industry had completely different systems set up. Different distributors. So I started to work with one of the major sales distributors, for publishing works in Tokyo, which also distributed all the mainstream publications. That meant I was publishing in larger numbers, but it also required more capital investment on my part. As they were publishing for mainstream distribution routes, and publishing in larger quantities, I could no longer afford to run the publishing business just by selling my own works. That’s when I started to ask other authors to contribute works. I would offer up collections of works by popular authors, other work that they had published in magazines. But this also meant because they were popular authors that I had to pay them quite a large sum of money for their works, so I went further and further into debt. I published books for about seven years. I went further and further into debt, and I was really at a point where I could not continue to run the business any more, but it was right around that time that the major comics magazines started to solicit work from me, like Shonen magazine and big comics. I think that in some ways those weeklies had seen the books that I was publishing and had evaluated them positively. So in the seven years, I published about 200 paperbacks, and of those, maybe 30 were my own works. And the rest were probably by about 20 different authors.
GROTH: The work of your own that you initially published for the rental market, was that gekiga?
TATSUMI: Yes, yes.
GROTH: Was that well received at the time?
TATSUMI: Well, the popularity of gekiga really declined along with the popularity of the rental comic-book business. So in those seven years that I was publishing, which mainly took part after the rental industry had started to collapse, most of the works I had published were not in the gekiga style.
GROTH: That you drew yourself?
TATSUMI: So now, my works were in the Gekiga style, but the majority of the works I published were by other authors, and so they encompassed works for kids that would be published in these weekly magazines for boys; there were also girls’ comics. So the majority of works were not gekiga, but my own work was.
And Joe McCulloch will entertain and inform you with his week in comics.
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Paul Gravett reports on the Sotheby's comic art auction.
The New York times profiles a local comic book store owner.
Cartoonist/illustrator Liniers on his New Yorker cover.