TokyoPop Confirms Founder, CEO Stu Levy Has ‘Stepped Back’ From US Operations

Levy tells ANN that he will “focus on overall group strategy rather than day-to-day operations”.

Image Courtesy of Tokyopop

tokyopop Marketing Assistant Kai Winters confirmed in an interview with ICv2 on Thursday that the founder and CEO stew levy Withdrawing from the company’s operations in the United States. Winters told ICv2:

has been a staple of stew tokyopop For so long, but now with his family – and Germany to go – we knew he would eventually back out. Mark is a natural fit with our team, and we’re really excited to be on the way to the top with him.

In January 2020, Levy moved to Berlin. ANN contacted Levy regarding this interview, and Levy said that he “thinks the term ‘step back’ is a little vague,” adding, “In our case, it doesn’t mean that I have any No involvement, but it requires me to focus on the overall group strategy tokyopop Instead of day-to-day operations.” Levy also told ANN about his position tokyopopThe German operation is similar to the US, “I am the chairman but the day-to-day operations are handled by our super talented managing director, Susanne Hellweg.”

tokyopop In January, Mark Wisnick was appointed COO and publisher of the company. The company promoted Visnick internally to the position of vice president of publishing. tokyopop In his role as COO and publisher, Visnick was said at the time to be managing all of the company’s North American operations, including print, digital, editorial, marketing/PR, sales and distribution.

Levy also provided ANN with the following statement regarding the change:

I am very passionate about this industry, and I am especially proud of what we, a group of first generation pioneers, have accomplished. like my peers john o’donnell, sean kleckner, John Ledford, general fukunaga, Kurt Hussler, Chris MacDonald and a handful of others – and I paved the way for Japanese and Asian pop culture to form in America, which I believe contributed significantly to our society by opening the eyes of younger generations who embraced the same incredible magic that brought us to the original Fell in love with form. back in the day, during what i say tokyopop 1.0 – What we were also calling the manga revolution, it was just a fight to get the gatekeepers (big retailers, Hollywood execs, media, etc.) interested in “otaku culture”. It was too “niche”, he said. Now, thanks to the incredible success of the next generation of entrepreneurs Kun Gao But Crunchyroll And others, everyone knows about our culture. The movement has been established. In that sense, my job in popularizing the movement is over – and has been successful. but i still have my company tokyopop and believe we can contribute value to the resulting ecosystem. What we do now is not the same, but we still curate; We still struggle to eliminate constraints; And we still preach. It is just an evolution rather than a revolution these days. The fire in my belly – passion – still burns, but as an older (and hopefully wiser) coach I feel. And now that I’m also a dad (of two cuddly little monkeys!), I believe my current focus on supporting the talents of the younger generation is the right role for me now.

Winters also stated in the interview with ICv2 that while tokyopop With its return to the publishing market having released seven new titles in 2016, the company plans to release “about ten times as many” in 2022. Winters added tokyopop considers itself “now a boutique publisher, with plans to expand modestly in an effort to maintain quality over quantity.”

Wisnik also told ICv2 in the interview that since tokyopop Partnered with Independent Publishers Group (IPG) in January 2021 to handle its trade distribution, the company has seen “steady growth across all trade channels (independent booksellers, libraries, specialty markets, etc.).” Visnik added tokyopop The direct market is seeing similar growth.

Levy set up tokyopopwhich was originally called MixX in 1997 and published the manga in serialized form in its mixxzine magazine. tokyopop The latter pioneered the publication of “unflopped” manga (shown in its original right-to-left reading format) for all of its titles in 2002 and launched divisions in the United Kingdom and Germany, as well as an imprint dedicated to boys love called manga BlueBetween 2003 and 2005.

tokyopop closed its North American publishing operations in May 2011 but collaborated with other companies to release manga and World Manga after the closure. tokyopop announced it anime expo Panel in 2015 that it was planning to publish manga again in 2016, and announced its first new manga license in 2018.

Source: Email correspondence, via ICv2 (Brigid Alverson) @TheOASG

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