Although Canadian born, Takeshi Miyazawa artwork relays a manga aesthetic not only in form, but function as well. Best known for his work on Spider-man Loves Mary Jane, Miyazawa recently announced his departure from the title, and the continent itself. In December, Takeshi is moving to Japan with a goal to become a resident manga-ka.

Born to Japanese parents, Takeshi, or 'Tak' as his friends call him, was nourished on a healthy diet of imported manga, anime and Japanese culture during his formative years. After high school, Miyezawa spent two years in Japan as part of the JET program which is set-up to bring foreign culture and language to Japan. But during that time, he has admitted to not even picking up a pencil for artwork. But once back on America shores, he dove into comics with work on Sidekicks, Robotech: Invasion, Mary Jane and the aforementioned Spider-Man loves Mary Jane. But what lies next for the young cartoonist is a question mark.

I contacted Takeshi via email to find out more.

Chris Arrant: As you stated on your blog, your plan is to move to Japan and try to get a monthly or weekly book there. How long have you been thinking about doing this, and what finally pushed you to do it?

Takeshi Miyazawa: It’s been on my mind ever since I was in grade school drawing in textbooks instead of paying attention in class. I think I did the most drawing in my French classes; hence, I can’t speak a lick of it now but I can kinda draw. Anyway, Japan was a pipe-dream for the longest time let alone a career as an artist. I was planning to be an accountant after high school but decided at the last minute I should do something I liked and I liked drawing. I did 4 years of art school once I graduated and saw that people actually CAN make a living with art so, naturally, I was like, “well, hell, I should just make a go of it” and mapped out a 5 year plan to try and reach those fabled shores. I’m on my 5^th year now so I kinda have to go.

Arrant: So for the record, can you tell us what you hope to be doing there in Japan once you get settled?

Miyazawa:
Ideally, I would like to make the move with a pitch ready so that I don’t waste any time. At the very least, have something written and ready to draw. I know getting settled will be a bit of a headache. I have a few ideas I’ve been working on and it’s been just a matter of trying to pick the right one. 

Arrant:
Can you tell us what, specifically, your intentions are in regards to making comics in Japan. Can you point to examples of other people doing what you're planning on?

Miyazawa:
I think the closest example is what Paul Pope tried a few years ago with working closely with Kodansha to introduce western creators to the Japanese manga market. Unfortunately, I read that his work was never published. Geez, it woulda been awesome… I’m hoping the stage will be a little different for me. As for specifics, I’m aiming to apply to a few anthology magazines that I’ve been following and that I think would suit my approach and style. I really want to follow the standard path that all artists there seem to tread. So, applying to one of the seasonal contests, getting some sort of notoriety and then being put on a weekly or monthly. The work would be in black & white of course.

Arrant: Do you think your body of work in America will help you in your cause to get established in Japan?

Miyazawa: I haven’t the faintest. I’m not sure whether they read American comics or not. If they ask for experience I can always whip out some Mary Jane issues or pages from my online comic which is closer to the work I will be producing there. I suppose I can say I’ve had experience with deadlines and juggling projects and know when my peak hours of production are and can project what my output will be like. I think one of the most important skills as a freelancer is to know your limits. I’ve got a good grasp on that from my 3 years with Marvel.

Arrant: Can you tell us more about the seasonal contests you mention?

Miyazawa: If you buy any weekly or monthly anthology magazine like Jump or Sunday, they always have a page or two devoted to advertising these contests. It’s basically just a talent search with a little prize money awarded to the winner. If you’re good enough it can be the break you need to get a regular gig. Some magazines set a theme and page count. Some are, like, whatever. The judges are usually pros from within the industry that work for the respective magazines and comment on a handful of the best submissions. It all seems very organized and a trusted way to get a start. I feel we should have more contests like this here. I know Tokyopop has one and kudos to them.

Arrant: Do you already have in mind the comics you want to create and do in Japan?

Miyazawa: I have a few story ideas, yes. I’m really trying to focus on good characterization more than story, though. I know they are equally important but the Japanese market stresses high-quality and convincing characters more than anything else. I love reading comics with the cast doing nothing but sitting around talking and it’s still a great read through the application of great characters and unique storytelling. In other words: the meat and potatoes of a comic. I’m a real less-is-more kinda guy so I aspire to be able to pull that off.

Arrant: Do you have any contacts in Japan, or any potential publishers and/or contacts lined up?

Miyazawa: Nope. I’m gonna wing it.

Arrant: You've been to Japan before, as part of the JET program. Can you tell us about your time with that?

Miyazawa: Yeah, I was a CIR (coordinator of international relations) up in Sanjo City, Niigata for 2 years. Beautiful place. Lots of good sake. I had the time of my life. I was pretty burnt out with anything to do with art after university so I decided I was just going to enjoy my time, acquaint people with Canada, read a crap load of comics and eat lots of sushi and ramen. I also wanted to experience living in Japan so that I would be familiar with the whole process if I were to ever come back. I mean, I’ve visited many times in the past on family vacations and stuff but the hairy details of key-money and this weird thing called appreciation money just to rent an apartment were rather baffling. All that aside, I also had the fortune of meeting many many generous people and traveling all over the country. It also served as a time to do some (oh-so-cliché) soul-searching and deciding whether comics was something I was ready to commit to. I’m sure it’s the same with any career but the thought of doing the same thing for the next 40+ years was rather terrifying.

Arrant: Correct me if I'm wrong, but you were born and raised in Canada. Were your parents originally from Japan, and how did the Japanese culture & language stay with you and your family?

Miyazawa: Yup, born and raised in T-dot!! Sorry, that’s what Torontonians refer to Toronto as. Technically, I was born downtown but grew up in the suburbs of Ajax where there was nothing much to do back then other than draw and tip cows. My parents are indeed Japanese and hardcore at that. I was home-schooled to speak, read and write the language while I attended normal school. They bought me Japanese comics to help me with my reading, so, in a way that was my first brush with manga. When I was old enough, I was enrolled in a Saturday school along with my brother and sister with other Japanese kids in and around Toronto where we’d trade comics and toys and stuff. They did a good job of brainwashing me. Interestingly enough, I speak Japanese to my parents but English to my bro and sis with Japanese mixed in when we refer to J-things. It’s just easier.

Arrant: You spent several years working as one of a select few manga-styled artists at the stereotypically American superhero comics company Marvel.  During your time there did you find any resistance to your style, and did you adapt your style any to better fit the company?

Miyazawa: I feel I was very fortunate in that Marvel was totally cool with me and what I did. I was rarely told to change anything. If something did come up, it had to do with my transition from doing exclusively B&W work in the past to one that would accommodate color where a scratchy/inky style just looked kinda dirty. You can see it in my early Marvel work where I’d cross-hatch in blush on faces and foliage on clothing. Anyway, I totally understood and to make life easier on the colorist, opted for a cleaner and crisper look based solely on line. It has really helped me understand how to create mass and weight with just a few efficient strokes.

Arrant: Transitioning from B&W to color work at Marvel and now preparing to go to B&W again in Japan, are there things you learned from your color work with Marvel that you'll take with you back to the  B&W world?

Miyazawa: I’ve come to the conclusion that color and B&W are like apples and oranges. There are different benefits in both as well as cruxes. I’ve found through working at Marvel that my pages become very literal and there is less room for interpretation. I find myself having to draw to communicate rather than express. For example, I’ve had instances where a stark white background woulda been really effective in eliciting isolation or loneliness in a panel but having a color character in the foreground is just too jarring and overpowers that feeling of detachment, therefore, I’d fill it in black or draw a simple background to compensate. I also look lazy when I leave too many things blank. Personally, I’d prefer to do everything myself and perhaps I’d be feeling differently of the two if I had but there are not enough hours in the day. I do what I can though and I feel the results have been very positive. If anything, I’ve been forced to work clean and I am very grateful for that fact. My comic heroes are guys like Samura and Terada where they utilize a rough penciled look to their work but are still able to keep give weight and dimension. I’m glad I’ve been able to try out things to find a middle-ground between rough and tight like that. These little personal discoveries are what I’ll be taking with me and infusing into my work.

Arrant: You announced you're leaving Spider-man Loves Mary Jane, but didn't say anything about your webcomic BFX2 with Arthur Dela Cruz. How is that doing, and what do you have planned for it?

Miyazawa: Well, we still intend to finish it, it’s just a matter of when and how long it’ll take. The summer really wreaked havoc on my scheduling so I haven’t updated the site in a while but after I get caught up I will try to finish it before moving. The story is already written in my head and I know where it’s going. Eventually, I’d like to get it published on paper, too, but there are a few hurdles before we can do that. I won’t leave the readers hanging. Don’t worry.

Arrant: Besides your webcomic work, you've always drawn based on another person's scripts. Do you plan to write your own comics in Japan

Miyazawa: Yeah. I enjoy drawing off a writer’s script since there is a real sense of collaboration there. Maybe it’s the fact that I’ve been fortunate enough to have worked with easy going and open-minded writers up till now where I’d add a panel or change something in the breakdowns and they’d come back with nothing but praise. But, of course, I have ideas, stories and experiences of my own that I would like to express and spew all over a page. Okay, that was kinda gross.

Arrant: What kind of familiarity do you have with the logistics of working as a cartoonist in Japan?

Miyazawa: No firsthand experience but I’ve read many interviews and articles that explain how weeklies and monthlies are produced. It’s a daunting thought to have to produce 15-20 pages a week compared to an average 22 pages per month here but I welcome the challenge. I wanted to stress that my move is so NOT calculated and I’m just as scared as I am excited at the prospect. There are no guarantees, of course, but I’ve always felt that the more you challenge yourself the more rewards await you. At the very least, it will make me a more disciplined artist.

Arrant: Do you have any Japanese manga-kas as friends that you've been able to talk about your impending transition with, or compared notes with?

Miyazawa: I’ve met a few Japanese artists over the years but, sadly, none I’ve kept in contact with. When I lived there previously, I was too far out in the country to make any real connections. I woulda loved to have seen a studio firsthand. This time, though, I aim to live in Tokyo to try and expand my contacts. It’s all very exciting.

Arrant: Although you said that you didn't do much artwork while in Japan originally, you do use a mechanical pencil you bought there to this day. Can you tell us about this seemingly indestructible pencil?

Miyazawa: Haha. I think I’m pushing 15 years with this pencil now. We’ve been through some tough times together but it’s always been faithful to me. Wow, I just realized that can mean many things… My MECHANICAL 0.5 pencil I bought at Tokyu Hands somewhere in Tokyo, yes. I’ve lost or broken everything else in my stock of supplies but for some reason I’ve always held on to this one. It’s got the right balance of weight and length and… okay. Moving on...

Arrant: Do you take this pencil with you to draw at conventions or signings, or do you take any special care with it?

Miyazawa: I usually take it wherever I go but rarely use it. I’m so accustomed to using it in-house and not on the road. It’s my secret weapon of awesomeness, I guess. I have a second tier ergonomically built mech pen I use for my con sketches and other stuff.

Arrant: God forbid, but what if something happens to this pencil. Will you try to find the same brand, or upgrade to something new

Miyazawa: I’d cry.

Arrant: Let's hope that never happens.

Takeshi has a website and blog at www.takeshimiyazawa.com. You can check out BFX2 at www.bfxproject2.com.