The One Piece cartoon series is creating a hot topic. Although it is a book, it has the disadvantage of being physically difficult to read. This book is 21,450 pages long. It raises interest in how this comic book exists as a commodity and what intellectual property rights are.
Comic books that are too long are single volumes and are actually being sold. Advertised as the longest book in existence, the publisher is promoting it as more of a sculpture.
The price of this book is 1900 euros (about 2.63 million won). However, there are various misconceptions in that it is not a book written by Eiichiro Oda, an artist and author of ONE PIECE, which has been serialized weekly in the Japanese magazine Shonen Jump since 1997, but is an artificially reorganized book.
This work, titled ONE PIECE, was designed by artist Ilan Manouach and sold as a work instead.
Ilan Manuach is an artist currently living in Kunstencentruum Vooruit. Ilan Manuach is a strategy consultant for book publishing Onassis Publishing. He studied the impact of logistics on the comics industry in college.
According to the book’s French publisher, JBE, Manuach printed a Japanese digital version of One Piece and bundled it together, treating the manga as ‘piece material’ rather than a book. It could be because of copyright.
“One Piece is an unreadable sculpture in the shape of a book (the largest ever by page number and spine width),” a JBE spokesperson told The Guardian, “embodied the online dissemination ecosystem of comics.” No matter what this book falls under, One Piece certainly seems to have people buying it, and there’s a market for it. 50 copies were sold within a few days of its release on September 7th.
The publisher explains that “Manuach’s work arose because of the proliferation of available online content and the widespread digitization of the comic book industry.” Ilan Manuach’s One Piece wants a quantitative reevaluation of ‘comics as big data’ in a qualitative review of the formal possibilities of digital comics. It is suggesting that you change your understanding of digital comics.
JBE described the cartoon as a “dual object”. It has ‘use value’ for readers and ‘exchange value’ for collectors. In creating a book you can’t read, Manuach obviously wanted to emphasize the way the cartoonist exists both as a commodity and as literature.
This is a theory that the cartoon industry itself has already accepted. One company, CGC, offers a service that grades customers’ cartoons and wraps them in protective plastic.
Questions are coming from the public as to whether Eiichiro Oda has ever been involved in or consulted with the production of One Piece, and whether there are copyright considerations.
To this question, the publisher responded, “This work is not about Manuach reading copyrighted content, but about his work around the ecosystem of comics as a sculptor using online dissemination as a source material.”
The publisher believes that there can be no copyright infringement because it is physically impossible to read the book.
Keita Murano, an international copyright officer at Shueisha, the Japanese publisher of Oda Manga, confirmed that his company had not been consulted about JBE books. “The products you mention are not official. We don’t allow them. Our license in France to publish One Piece is the publisher Glénat,” he said strongly.
Although Eiichiro Oda may not receive any royalties for the publication of One Piece, his manga series has already made him the richest manga artist of all time, with an estimated net worth of around $200 million. His original cartoon ‘One Piece’ is listed in the Guinness Book of Records, and more than 4.16 million copies have been printed so far.
The sale of One Piece isn’t the first time the art world has made a lot of money from the comics industry. Pop artist Roy Lichtenstein began his career by making direct copies of his monumental canvases from existing comics.
While DC’s All-American Man of War panel went up over the previous year, Sleeping Girl, which last sold for $44.8 million a decade ago, was based on an illustration from another DC Comic in Girls Romance 105.
Jinyoung Kim, reporter for Global Economics