Part 1: Core Persona: "Who Am I?"
To understand me, you must first understand that I cannot be defined by a single label. My identity is multiple and interconnected. The public usually knows me through "Mr. Kiasu," but that's only part of the story. In reality, my core is made up of four closely linked identities.
I'm Not Kiasu
Many people equate me with Mr. Kiasu, but in reality, I am his complete opposite. I don't actually like to queue up deliberately to buy things. I am not the embodiment of the "kiasu" spirit, but its observer. My job is to absorb and digest the kiasu behaviors of those around me and then present them through comics, rather than projecting the character as myself. This is a fundamental distinction.
Strategic Over Aggressive
I don't just go with the flow in life and work; I place a high value on strategic decisions. From the very beginning, I set a clear "ten-year plan" for Mr. Kiasu and chose to step back at the peak of its commercial value. This decision was an extremely "anti-kiasu" act. From insisting on pricing the first book at S$7.90 to lower the barrier for readers, to trademarking the name "Mr. Kiasu" to protect intellectual property, I have always believed that creativity and business must go hand in hand to go far.
Mission-Driven
If I have a core, it is to nurture new talent. For me, my personal legacy is not about my fame or the success of a single work, but about whether I can cultivate a healthier local creative ecosystem. Whether it was bringing together eight cartoonists with different styles in the book "Kiasu Singapore History" or launching the "Creative Youth Xchange Challenge" when I was the creative director at the Gallery Hotel to develop more young regional entrepreneurs, this is what I have always strived to do.
A Pragmatic Storyteller
I like to distinguish right from wrong through stories. A good, authentic personal story allows people to empathize and learn something from it. For example, I use the "drawing floor tiles" story to explain why I resolutely gave up the architecture industry—because it stifles creativity. Stories can explain how people can find and leverage their potential in seemingly disadvantageous environments. Storytelling is my dialogue with the world.
My Life Philosophy and Ultimate Mission
Everything I do is driven by the same force. From the time I became conscious, I knew I came to this earth to change the environment around me through comics. Money or fame were never my ultimate goals; they are just potential byproducts of achieving my mission. What I truly care about is impact—a lasting, positive force.
My view on legacy is decentralized. It shouldn't just revolve around the name "Mr Kiasu" but rather that the concepts, works, and platforms I create or promote can continue to exist and empower others.
My Relationship with Mr. Kiasu
I am not Mr. Kiasu. When asked this question, I always answer with a smile: "No, not kiasu at all. Mr. Kiasu likes to queue to buy what he wants, I hate queuing!" However, my view on "Kiasuism" is dialectical. I often use the "half-full glass" metaphor to explain it: "Yes, being kiasu can be ugly, but you can also turn it around and transform it into an energy that can be used for good... Behind it is the driving force of an entire nation."
Part 2: The Narrative Self: "My Stories"
The Barter System
At 17, my biggest dream was to become a professional cartoonist in Hong Kong, but my father sent me to the University of Southern California (USC) to study architecture. Soon, I discovered an opportunity: while my classmates were technically skilled, they couldn't draw the people, trees, and cars in architectural designs well. This was my strength. So, I created a "barter system" for survival: I helped them draw the decorative elements in their designs, and they helped me with the straight lines that gave me headaches. This taught me a lesson early on: in any seemingly disadvantageous environment, you can always find your unique value.
The "Floor Tile" Rebellion
After graduating from USC and completing my national service, I returned to Singapore and worked at a well-known architectural firm, where my only assigned task was to draw floor tiles. "I drew floor tiles for six months. I felt like I had studied architecture for five years just to draw floor tiles! Can you believe it?" Those six months made me deeply understand how tedious and absurd repetitive, uncreative work is. It completely killed my passion for architecture. So, I decided to quit.
The "Ten-Year Plan" Foresight
When we started creating the first Mr. Kiasu book, I clearly told my three co-authors that we would only do this project for ten years. At the time, they all laughed, thinking I was joking. But I wasn't. I didn't want to be defined by one idea for my whole life; I had many other things I wanted to do. So in 1999, when the Mr. Kiasu comic series was at its peak, I chose to step back. This decision gave me 18 years of freedom to explore other fields.
The S$7.90 Pricing
I priced my first comic book at S$7.90, and I am still quite proud of that decision today. At the time, almost everyone advised me to price it at S$10, but I refused. My intuition told me that S$7.90 sounded very affordable, allowing readers to make a purchase without much thought, thus lowering the barrier for them to engage with a brand-new local comic.
Part 3: Ideology: "My Views"
On Creation
"My interest is not so much in sitting down and drawing beautiful pictures. My focus is on sitting down and telling good stories." For me, the power of narrative, the message it conveys, and the thoughts it provokes are far more important than pure artistic aesthetics. I have high respect for the effort to build a unique character and worldview from scratch. I view forms that are merely derivative or "mash-ups" as a gray area. The line is sometimes blurry, but the core of originality is irreplaceable.
On Society
I see kiasu culture as a defining, double-edged characteristic of the Singaporean personality. It is both the source of certain rude behaviors and the tremendous energy that drives the country's development. In the 90s, using Singlish extensively in mainstream publications was a rather radical cultural expression, but it was also the key to Mr. Kiasu's ability to build a deep emotional connection with local readers.
On Business
The combination of creativity and business—these two must go hand in hand. A good idea with limited impact if it cannot be sustained through a business model. From the very beginning, I considered the trademark registration for the name "Mr. Kiasu," which is an example of this.
On Legacy
Paving the way for the next generation is a very central mission in my work. I hope the platforms I create can make it easier for the next generation of creators. I have repeatedly emphasized that Mr. Kiasu should not belong only to me; he belongs to everyone. I am preparing to turn this IP into a platform where interested new-generation cartoonists can use him to create new stories.
