In case anyone is interested in
Radiant, manga or anime (read the manga though it's much better), the author recently did a long interview with a Belgian manga artist. It's full of interesting anecdotes about how the manga and its anime adaptations came about, what the themes of the work are, what he thinks about the anime, etc. An interesting watch (the audio is fucked for the first 5 minutes though, which I skipped).
It's in French but I translated a full 20 minutes of it and wrote a list of interesting points they brought up on reddit, I thought I'd share it here in case anyone is interested since I already did the work. Part 2 and 3 are the most interesting imho. I have no translation experience and wrote/translated all that very quickly though, so apologies for any mistakes or weird wording:
[PART 1]
- Tony's main interest is actually painting, even though he's not practicing it himself. He likes impressionism and orientalism (technically, not ideologically)
- Tony can understand Italian but can't speak it
- The way fans react to him is different from country to country. In France they are familiar yet respectful, in Italy they are more jovial/talkative, in Japan, very calm but very personal (anecdotes, saying why they enjoy the female characters, etc). Belgian people are more relaxed than French people
- Discussion about Japan in general:
- Time-keeping for signing events and presentations in Japan is crazy tight (like, if you're booked for 2 hours it's 2 hours, not 2 hours 1 minute)
- Working with Japanese people was a bit hard at first because their hierarchical structures are very strict, even for relatively minor things (e.g. in an interview they asked him to say something in Japanese but he thought sth slightly different would reflect his opinion better, but since the interviewer couldn't contact their superior to get approval they just said no), but Tony is used to it by now
- The NHK filmed both Tony and Moonkey last year for some TV shows [I'd be interested in finding those actually]
- Pitching the manga:
- Radiant was his first manga
- He pitched it with the (french) editors he wanted to work with - most of them already did manga, but some of them hadn't published french manga before. He got to work on some magazine stuff with Kadokawa this way, even if they didn't want to publish the manga
- A couple of editors (3+) actually told him yes
- Recommendation from Moonkey for aspiring manga/comic artists: it's better to get a 'no' from an editor than milquetoast 'yes' with a shitty contract/minimal support
- When Tony pitches a piece of work, he doesn't think of it as a pitch to the editors, but as a pitch to the readers. He can do the best job possible this way, and it yields a more personal and better representation of what the final work will look like
[PART 2]
Translation of a part of the discussion about the anime and how it affects the perception of characters who stop being your entirely your own, followed by a discussion on creating manga (~24:30 to 45:00). I didn't proofread it though, sorry.
- Tony: 'It's very different... At first it was very troubling because despite what it represents, I wasn't feeling this endeavour - I almost refused actually. I let myself be convinced that it was an opportunity ... But it wasn't easy for me. At first I didn't want to do it. And then the anime started getting made. Very quickly I saw that... Any cartoon that gets made, whether it's very faithful or not, is not the manga, and will never be so, and so I had to put a lid on all of this telling myself "No, my daily life should not change. My daily life is me, my pages, alone in my workshop, with some other artists around me, but it's my way to work, and after that, it lives in the heart of the readers". In fact, in my mind, the anime did not come and add itself to the universe I created. It's an interpretation of a part of what I do. It's only that. It's a crazy opportunity to make the series well known all over, I mentioned lots of countries before, a huge amount will get added this year. Again, the whole of South America [will get added], which will double the circulation until now, it's a crazy opportunity. And all of this happened because the series got released in many countries and is getting noticed more and more, because the anime series was released on its tail. All of that amplified the phenomenon. So it remains a crazy opportunity. However, for the creation in itself, it remains, and I hope it will remain, "Me, my pages, and my readers". And [inaudible].'
- Moonkey: 'And when you say "your readers", do you mean your francophone readers?'
- Tony: 'No, all the readers that share a moment with my series, whether they are french or [from somewhere else] - Actually, even when the story was coming out in France, you did a good thing mentioning francophones because...'
- Moonkey: 'Yeah because I said france, but there's belgium, switzerland, canada, quebec... And when it's published in english there are lots of things [countries] - all the countries that do not have official translations in their language procure the work in english'
- Tony: 'Yeah, just with [inaudible, maybe 'the english translation'?], it comes out in a dozen countries - an editor that releases in English is awesome. But, above that, while it was still a francophone [only] manga, while I was still active on social media and received and replied to messages, the majority of the messages I received were from francophone African readers. We have this tendency to forget this fact, because it's not [inaudible] in the market, but it turns out that most reader feedback, enthusiasm, encouragement, personal stuff, etc. is from African readers. Outside of French readers. The most was from French readers, and then foreign feedback, even if it existed in other countries, was mostly from African francophone readers.'
- Moonkey: 'It doesn't actually surprise me that much, it's from a long time ago, but I have Algerian manka author friends, who live in Algeria and that make manga for their customer base in Algeria. When we were talking - it was still the era of forums in france -. I was explaining to them, "here it's still jealousy, it was [imitates critics] *dumb noise* french people can't write manga, only japanese people can", and he [algerian friend] showed me some Algerian forums, where the atmosphere was completely different. They were happy that fellow countrymen produced some manga, and wrote manga that took place where they lived with their own culture and all that. And I was there "wow, I don't know that" (laughs). It was really a very, very different reception. I also had a group of fans of my manga from Germany. So I was there "oh ok, nice" - and it wasn't translated to german, but you could feel that depending on the place they don't necessarily ask themselves the questions "who makes this?", "what's their nationality", or do so in a positive way. Even though now, weirdly - actually, not weirdly, thankfully -, it changed and now we receive messages that say "Thank you for making this, thank you for being french and making this". It's true that it changed, but it took a lot of time.
- Tony: "Yeah, it changed, but to get there it took some people to start cutting down the forest with their teeth [referencing a joke earlier in the video].
- Moonkey: "Yeah, we got it rough. But we must say that we weren't necessarily ready to make manga either."
- Tony: "To be honest, I think there's always legitimacy to do something that you like, and no one can hold it against you if you do it clumsily. Everyone starts by being clumsy. There is no baby that starts by walking, you need to learn how to walk, and learn how to make some [manga], you need to make some. Having the opportunity to start, even if you start a bit too early, - which is what you might mean by saying 'necessarily ready -, I don't believe [both talk at the same time]
- Moonkey: 'Yeah, you just need to see Masakazu Katsura, or even Tsukasa Hojo's very first works, it was... Yeah, and now who would even dare to say they're not giants in the manga world.'
- Tony: 'Yeah, you need to start from somewhere, and not reproach someone for trying to do their best, even when you consider it's badly done, it can happen... When you open the book and you go "wow, he isn't ready", you're putting his work in comparison with a lot of work that's already out there that you like. But you like that stuff because it's excellent, so to judge a piece of work by saying "I'm not ready, he's not ready, she's not ready", it's just dumb - anyway you need to try, and it's the readers that make a series live or not. If readers like something, they will support it, and it will exist. And then later, where everyone would have said "this guy wasn't ready", you could say "no, he had a style", and then suddenly it becomes a justification for why it worked for him and not someone else. I've seen it happen a couple of times.'
- Tony: 'I got married when I started at Delcour [a publisher], straight away I got along well with Patrick Sobral (https://fr.wikipedia.org/wiki/Patrick_Sobral), who was working on Les Legendaires, before it became the French comic legend it is now.'
- Moonkey: 'He's someone very kind'
- Tony: 'Yeah he's fantastic. He was a friend from the beginning. We started together. He went very fast but for me it was a struggle for ten years. But what was fun to see about him, the splendid person that he is, all the enthusiasm that he puts in his books... And when he wasn't around, you'd hear people talk badly about his work: "it's stupid, it'll never work", and now... His work is one of the best selling franco-belgian comic, of the last ten years, he's got several best sellers - les legendaires, les legendaires origines that do just as well. So he's a "monster of the franco-belgian comic industry", that sold millions and millions of volumes, and now everyone justifies it saying "yeah, [inaudible], he's unique", and all that stuff... Doesn't it make you laugh? When at the beginning everyone was saying [bad things?], and now every one justifies it by saying it's his style. So it's because of this that when people look at the piece of work and have the impression that that it's not perfect yet... No one is safe from a surprise. [inaudible]. So you put all the chances on your side. Until you get success and everyone recognises that you are successful, no-one can predetermine whether it's going to be a success or not.'
- Moonkey: 'Yeah definitely. With critics like we got, we'd never have gotten manga like Parasyte or Attack on Titan, even though they became huge.
- Tony: 'Yeah I agree. So let's all make manga, if it ends up badly [not 100% sure what he said tho] it's all right.'
[PART 3]
Back to highlights here.
- Tony moved from Toulouse, France to Montreal, Canada to get out of his comfort zone (he jokingly compares it to a Shounen hero's journey to go discover the world)
- Tony prefers that his editor/publisher leaves him more freedom and breathing room - the only thing his editor has a say in is the manga covers - he draws 2/3 variants and then discuss them with the editor, along with which citation he should put on the back cover. The editor has 0 influence on the actual content of the manga
- His editor is a woman (he doesn't comment about that fact at all, but in french all nouns are gendered so he says editrice rather than editeur, which gives it away).
- He legit told publishing houses 'if you're gonna interfere with my story, I'd rather not make it at all, I'd rather make it somewhere else'.
- For translations he's sometimes (but rarely) asked for details, but most of the time his editor handles those questions.
- In some countries translators wanted to tone down the commentary on immigration, and the editor had to force them not to do it. Japan had absolutely no issue with it though.
- Tony thinks while it's okay to talk about racism in France, it would be very hard to have a cartoon character that actually says racist shit (even while being depicted as being in the wrong), whereas Japan had no issue with it.
- Konrad de Marbourg is inspired by a real life historical character. The things he says are things that Tony heard French politicians say on TV. Tony essentially didn't invent anything, he quoted the things he heard verbatim (he didn't get them all from the same person though).
- The Rumble Town arc represented Tony's fears about the future when he wrote it, and he mentions that sadly the content is more topical now than when it was written.
- The NHK didn't want to feature a prison full of only brown characters, but they didn't want to white-wash it either so they decided to add more ethnicities, including Asian characters.
- The themes of the manga (about immigration, etc) were mostly personal rather than being directly inspired by existing works.
- Often what Seth says are things that Tony has said himself in the past. Including things he said because he was too naive, before getting corrected by people more knowledgeable (e.g. the Almas of this world) and changing his opinion.
- Tony doesn't want to box himself in certain category (e.g. despite being obviously quite outspoken about racism in his work, he doesn't want to box himself in the 'anti-racist' category), as he believes it's counterproductive to sharing your ideas. He believes social media is making people box themselves. They speak 'as a man', 'as a woman', 'as a white person', 'as a black person', to give weight to their arguments. He doesn't believe it's an issue in and of itself, because many people were denied a voice before and can only start expressing themselves now, but that it can become an issue when too many categories are created and people stop interacting. Piodon's spiel about having to choose a camp whether you want to or not is a reality, even if personally Tony does not want to be boxed-in one of these categories. He doesn't want to speak 'as a son of immigrants', he does not want to act as a representative for all children of immigrants, and he does not want other people to talk for him either. [He gets a bit heated about it actually, here's the translated quote:] 'When someone says "as a son of immigrants", I think "no, you talk as yourself and shut the fuck up", maybe I'll recognise myself in what you are talking about, maybe not. You talk for yourself and I talk for myself'. But he does recognize that whether you want it or not, if you express your opinion in public, especially if you have any sort of authority, you'll make some gears turn and affect people, so you have to take responsibility.
- Following the same idea, he would rather be talked about as just a manga artist rather than as a French manga artist.
- He doesn't like when people use his work to put down other artists (e.g. people saying stuff like 'As opposed to Radiant, this manga doesn't do X or Y the right way'). He writes thing the way he writes them because that's what he likes to read. He loves shounen manga so Radiant very much feels like a (action) shounen manga, but he doesn't believe that the genre is better in an of itself and again doesn't want people to box him in a category [two or three expletives again when talking about this topic lol]
- Back when he was starting, some people told him Radiant was never going to work because it was too Japanese and the competition was too strong, and now they're telling him it's working because it's so Japanese.
- Neither Tony nor Moonkey like reading articles or online comments about their work online. In particular he was saying how some other French manga got released in Japan after his and didn't do well at all, and some Japanese people started trash-talking it by saying they should have done it like Radiant by being super Japanese-like. This really brushes him the wrong way [quote:] 'if you don't like a work just say you don't like it rather than holding it accountable for everything you don't like about french culture'.
- Seth's speech at Lord Majesty's party is pretty much Tony directly talking to people that tell him 'I'm gonna beat you and become
hokage the best French mangaka' on social media. You're not on a ring, it's not a competition.
- Tony can't say whether there's going to be a second season of the anime.
- Tony could watch the finished episodes 1 or 2 days they air before but prefers to watch them on Crunchyroll at the same time as everyone else.
- When watching the episodes he can only see what's been removed and what's been added/changed. He thought he'd be able to look past it but it's too hard. He can only judge fairly the original episodes.
- His favourite episode is Episode 3 with Alma's flashback. Lerche asked him if they could have a flashback to explain why Alma and Seth are together, so he gave them tons of info and character designs for young Seth/Alma. He also likes Episode 9 about Dragunov and how it showcase his character and his morals.
- He had to tell a lot of things that weren't in the manga yet to the anime studio. They asked for some things he hadn't even decided on yet, but for those he just told them what the options were but refused to commit to one or the other.
- He said that even for the things he has already decided on, if he later changes his mind he will make the changes without taking the anime into account.
- [Just noticed that he's got a slight regional accent, he pronounces 'avec' (with) as 'avè' haha]
- The anime company is doing their best within the constraints they have. There are a ton of people working on the series, and when they tell him they have to do things one way rather the other, he understands given the circumstances.
- One of the issues was that the first arc is 4 volumes but a typical [2-cour] series is 26 episodes. At the very beginning they wanted to adapt until the end of the Sorcerer Knights arc (volume 10 which hadn't even been released then). Tony wrote down everything that still had to happen on paper and gave it to them. At that point, the corresponding manga volumes would have still come out before the anime, but they needed to know in advance. Lerche thought it was too much content, so they decided to concentrate on Rumble Town, but there wasn't enough material. That meant that either they'd change everything, or add filler at the beginning and then adapt Rumble Town more faithfully.
- Another point is that the anime is targeted at a younger audience than the manga, so the studio wanted to consolidate the relationship between the characters before Rumble Town. What could be omitted in the manga had to be spelled out loud for the kids. The target audience of the anime is not people that watch My Hero Academia or One Punch Man, it's the target audience of >>the beginning<< of One Piece or Dragon Ball. According to him those series were really aimed at kids at the beginning but changed later. He also thinks Oda wouldn't have been able to start One Piece with some of the darker themes it's been exploring for a while now - he had to ease people into it. Tony himself didn't take that into account too much when writing Radiant, it's not aimed squarely at kids even if the first volume is more light hearted [he doesn't mean that as a criticism at all, he's just commenting on the different approaches]. However, Lerche wanted to go the One Piece way and ease people into it by starting light hearted to prepare people.
- He mentions that the anime series was pitched as a series that could get several seasons.
- The co-director of the anime worked on One Piece for three years
- Tony gave instructions on the animation to the studio (i.e. what should move, what shouldn't move). For example, Mr. Boobrie's wings do not move, he just floats in the air unless he actually wants to go really fast.
- In Japan One Piece is considered as a manga targeted to a younger audience than other big series like Dragon Ball, Naruto, Bleach, etc., whereas in France they're all considered as targeting the same age group.
- Tony was doing some last minutes drawings for the Angoulême International Comics Festival (https://en.wikipedia.org/wiki/Angoulême_International_Comics_Festival)