I was in Hong Kong in February 2007, when I was first contacted by a TOKYOPOP editor. Of course, this got me all !!excited!!, but I was pretty much clueless. One advice I found to be very useful with regards to TOKYOPOP and their contracts, was told to me by Ms. Tina. She basically said, if it's a story that matters to you, don't give it to TOKYOPOP. I always keep it in mind, now, when dealing with more commercial publishers.

Here's Mayshing's take...

As for me, well, for one reason or another, even after having been in contact with TP editors for well over a year, I still haven't done any for-the-record work for them. The editors are well aware that the main reason for this is lack of time on my part -- I currently have two running titles -- aware that the shorter the project they offer, the higher the possibility I am able to sign on. That it would be best if it's a one-shot. After having taken part in two projects that didn't make it to the second round, I was told by an editor that they would have a short-term project, one that would have a chapter-long 'online trial,' ready for me soon, and I said, sure, anytime.

Now, the actual Pilot project was announced a few days ago. I was pretty blown away by all the objections made against the Pilot 'pact.' I admit, some parts were really... stupid, yet, I was strangely unaffected. Needless to say, a handful of my colleagues were disappointed after learning that I was seriiously considering a part in the Pilot project. What's worse is, I really... didn't quite understand where they were coming from. *hides*

From the very beginning, I didn't expect anything from working with TP other than the money and publicity, and the experience. (If you're lucky, your art style might also progress in the process.) Anyway, it's work-for-hire. Has TP ever offered anything more than that? : \ Not that I know of... so, take it or leave it, right? I, for one, am okay with what they're offering. I think I'm just used to it. In fact, I started out doing work-for-hire. I've been drawing manga for three years now, and not half of the published work I've produced within this time frame actually belongs to me. : \ I consider TP gigs to be just that kind job -- a stepping stone in my career, nothing more.

Nevertheless, it was embarrassing for me to be confronted with all the opinions! Ehehe... @///@ Despite this, I continued my correspondence with the TP editor... only to later reject the offer, because the story attached wasn't to my liking. However, I am still open to future offers from TP.

For the record, I'm not for or against TP. I don't deny that there's a lot of room for improvement when it comes to their contracts. Unfortunately, the market value of an artist's work is directly proportional to the artist's popularity... and, fame has a price! Like it or not, they have the means to catapult your name out there. If you think that they're just using their creators to make money, then the least creators can do is use them back -- as a platform to raise the market value of our art, so we can afford better, more ethical work conditions, the next time around.

Of course, you can always just say NO... But, the bottom line is still just, don't give to TOKYOPOP anything that matters to you. (Thanks, Ms. Tina!)

Peace!