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1 [1]logo 2 [2]People[3]Influence[4]Lifestyle[5]Watches & Jewellery 3 [6]Subscribe 4 [7] 5 [9]Sign up for our newsletter for the latest business lifestyle stories! 6 [11]People 7 8 The Business of Empathy — The CEO of Kobo believes books can save us 9 10 Rakuten Kobo’s Michael Tamblyn believes that in an age of fragmented attention, 11 books remain the deepest form of human connection. 12 13 By [12]Zat Astha / 24 Mar 2025 14 15 [53a6cfa2df7924e6ddb2126a2c60bc7d93ca1bc72aa81f79684beafef48619e8] 16 [13]Business Leaders 17 18 Share this article 19 20 [14][15][16][17][18] 21 22 In a spacious conference room overlooking the bustling heart of Singapore’s 23 Raffles Place, Michael Tamblyn leans forward slightly, relaxed. The deep-red 24 carpet beneath him lends warmth to the otherwise sleek, corporate setting, 25 framing the scene for a conversation rich with introspection. It’s perfectly 26 evident that he’s accustomed to grappling with big questions. As the CEO of 27 Rakuten Kobo, a global giant in the digital reading sphere, Tamblyn navigates 28 daily through a paradox at the very heart of modern readership: how to draw 29 readers away from the addictive pull of social media and streaming platforms — 30 and yet simultaneously leverage those same platforms to rekindle the world’s 31 waning love affair with books. 32 33 “We’re definitely fighting for time,” the music graduate (Tamblyn has a degree 34 in music composition from Wilfrid Laurier University) acknowledges, his voice 35 steady and earnest. The competitive landscape he describes extends far beyond 36 traditional rivals like Google, Apple, or Amazon. Instead, Kobo finds itself 37 wrestling with entities designed explicitly to monetise and fragment our focus 38 — platforms like YouTube, Netflix, TikTok, whose business models depend on 39 endless scrolling and binge-watching. “These platforms have figured out how to 40 put a price tag on time,” he continues. “We constantly compete for attention, 41 striving to remind people that books are not only a valuable part of their 42 lives but also an inherently interesting one.” 43 44 The irony isn’t lost on him, however. As readers’ attention fragments, the very 45 platforms drawing their gaze away from books are paradoxically fuelling a 46 resurgence of literary enthusiasm. Enter BookTok, the wildly popular TikTok 47 subculture where young influencers passionately recommend, dissect, and promote 48 their favourite reads. “Sometimes we compete, and sometimes the social media 49 world actually helps us,” Tamblyn notes, a wry smile hinting at the curious 50 nature of this symbiosis. “People are discovering books through the same 51 channels that typically divert their attention away from deeper reading.” 52 53 Indeed, ask any contemporary publisher, and they’ll express gratitude for this 54 unexpected alliance with influencers. BookTok stars regularly catapult 55 overlooked novels onto bestseller lists, breathing fresh life into literary 56 classics and propelling unknown authors into the spotlight overnight. 57 58 But Tamblyn sees beyond temporary spikes in popularity. For him, the crucial 59 task is retention. “Our job, as creators of the reading experience, is to 60 stretch out that captured moment as far as we possibly can,” he explains. “Once 61 someone has a book in front of them, everything else must fade away.” 62 63 Still, achieving this goal isn’t straightforward. It requires a blend of 64 technological innovation, insightful marketing, and sheer enthusiasm for 65 storytelling. Tamblyn knows that to successfully game the ecosystem of 66 attention, Kobo must outsmart it. 67 68 It’s why the company innovates tirelessly, from elegantly designed e-readers to 69 intuitive digital storefronts, all engineered to make the act of reading 70 seamless and captivating. Tamblyn compares these innovations to islands in a 71 stormy sea of digital distractions. “We’re creating spaces where the world 72 quiets down, allowing the reader to step inside a story entirely,” he reflects. 73 This thoughtful integration of technology, carefully balanced with the 74 authentic magic of storytelling, is how Tamblyn envisions winning the attention 75 battle. For him, books are neither relics nor mere commodities; they are 76 necessary sanctuaries in a fragmented online landscape. “People genuinely crave 77 deeper stories,” he insists. “They want compelling characters; they want the 78 opportunity to step away from constant distraction.” 79 80 From small-town shelves to a global bookstore 81 82 Long before Tamblyn sat at the helm of a digital powerhouse like Rakuten Kobo, 83 his passion for books was sparked within the humble aisles of a small-town 84 bookstore in rural Canada. This modest shop was Tamblyn’s gateway to the wider 85 world. “The nearest town was a half-hour drive away,” Tamblyn recalls warmly. 86 “But the most interesting store for me there was the bookstore — we were lucky 87 to have one. I just thought it was the most fascinating place ever.” 88 89 For Tamblyn, stepping through the bookstore’s threshold was transformative. 90 Each shelf offered adventures that stretched far beyond the rural landscapes he 91 knew. Fantasy, history, literature, poetry — he devoured everything. Tolkien’s 92 richly woven worlds, epic historical accounts, and lyrical explorations of 93 human emotion filled his imagination. “We had some good libraries where I grew 94 up, and some good librarians who would nudge you in different directions when 95 you’d read too much of one thing,” he remembers fondly. “They’d say, ‘Maybe you 96 want to try this instead?’ I just couldn’t get enough of it.” 97 98 Those early years of voracious reading did more than nourish Tamblyn’s 99 curiosity; they instilled a profound respect for the magic of books. It is 100 within those tales that the former CEO of supply chain agency, BookNet Canada, 101 wonders of endless possibilities contained within pages — something he would 102 later strive to replicate on a global scale with Kobo. “In some ways, I’m still 103 that child,” Tamblyn admits, his voice tinged with genuine affection. “Every 104 day, I walk through the door and work with books, authors, and people who love 105 reading. It all comes back to that feeling — stepping into a room filled with 106 ideas, more than you could ever grasp.” 107 108 Established in Toronto in [19]2009, Kobo (a delightful anagram of the word 109 “book”) began as a modest startup with a bold vision: to revolutionise how the 110 world reads. Acquired in 2012 by Tokyo-based Rakuten Group, Kobo quickly grew 111 into a global digital bookstore powerhouse, rivalling giants such as Amazon. 112 Today, Kobo boasts millions of users worldwide, offering a catalogue of over 113 seven million eBooks and audiobooks, accessible anytime, anywhere, on nearly 114 any device. 115 116 [28ac5a4dc18a47567a006b09ed9f0b7b92939658b74ccebf04d827d8d3535fe0] 117 118 L-R: Serene Chong, Project Manager of Travellution Media, Ken Tan, Publisher of 119 Mentor Publishing, Julian Chou, General Manager of Rakuten Kobo Asia, Denon 120 Lim, President and Chief Editor of Lingzi Media, Michael Tamblyn, CEO of 121 Rakuten Kobo, Hironori Shimada, Director of Rakuten Asia, Maureen Ho, Chief 122 Editor of Focus Publishing, and Min Wei Lee, Division Manager of Ingram Micro 123 124 Photo: Rakuten Kobo 125 126 In March 2025, Kobo made a strategic leap into the burgeoning digital-reading 127 market in Asia by launching Kobo Plus in Singapore. This subscription-based 128 service gives users unlimited access to a vast library of over two million 129 eBooks and 300,000 audiobooks, starting from an accessible fee of just S$9.99 130 per month. “With Kobo Plus, we’re making reading more accessible and flexible 131 than ever, giving book lovers the freedom to explore a diverse catalogue 132 without limits,” Tamblyn explains. 133 134 The significance of Kobo’s Asian expansion isn’t lost on Tamblyn. As smartphone 135 usage and digital content consumption surge in Asia, Kobo’s strategy taps 136 directly into a new generation’s appetite for affordability, accessibility, and 137 convenience. “eBooks have never been more popular in Singapore,” Tamblyn notes 138 enthusiastically, attributing this trend to evolving reading habits and a 139 digital-first mindset among younger readers. Kobo’s arrival in Singapore is 140 thus timely, aligning perfectly with a regional shift towards digital 141 storytelling. 142 143 “Everything we do, from product design to the reading experience itself, is 144 about creating spaces where stories flourish,” Tamblyn reflects. His voice 145 carries a quiet pride as he considers Kobo’s journey from a small Canadian 146 startup to an influential global brand. “Back then, I walked into a little 147 bookstore, in a little town, feeling I’d never read everything inside it,” he 148 recalls. “Now, we have millions of books in numerous languages. That feeling of 149 endless possibility exists on a scale I could never have imagined, yet the 150 magic is stronger now than it ever was.” 151 152 Why we still read 153 154 In an age dominated by rapid-fire digital content and algorithm-driven 155 engagement, one might wonder why anyone still reaches for a book. Yet, 156 according to Tamblyn, the reasons for reading today have grown more profound. 157 “I think it’s still the most immersive form of media that exists. The most 158 beautiful pictures, the most incredible scenes, are always the ones you make in 159 your own mind. Nothing creates that experience better than books do.” 160 161 And despite predictions heralding the demise of reading with each passing 162 generation, books continue to attract fresh, eager cohorts of readers. “Every 163 decade, every generation, we hear that this is the generation that’s going to 164 stop reading,” Tamblyn notes with mild amusement. “And yet every generation, we 165 get a new cohort of people who find books they love, that they’re just so 166 passionate about — even though you have the best-funded, most aggressive 167 companies doing everything they can to pull your focus somewhere else.” 168 169 Indeed, despite the relentless allure of visually stunning video games, 170 binge-worthy television series, and endless scrolls through social feeds, 171 readers still turn to books. Tamblyn sees this as evidence of something 172 uniquely human. “Even with everything the gaming industry has advanced, even 173 with everything the film and video industry has created, people still come back 174 to this very simple media,” he reflects thoughtfully. “Because there’s nothing, 175 I think, that immerses you longer or deeper than a book does.” 176 177 Books, Tamblyn believes, not only entertain; they challenge perspectives, and 178 deepen our understanding of others. “Stories build empathy — we know this,” he 179 insists passionately. “It puts you into another person’s experience. It lets 180 you imagine different ways of living beyond the one you have right now.” 181 182 At its heart, Tamblyn argues, reading fosters a kind of psychological and 183 emotional generosity that’s increasingly vital in a fragmented society. “On the 184 non-fiction side, it lets you go deeper into an idea than a 20-second video 185 ever could,” he continues earnestly. “It lets you go further into an argument 186 or a concept than you can in 400 characters. And that’s what we need more of.” 187 The simplicity and depth of books then become a counterpoint to today’s 188 rapid-fire culture, where brevity often eclipses depth. 189 190 Reading as an act of resistance 191 192 [9d814a006d70691ed0d2e743251920f9c1e6f763049c4a7c610b7ea818179272] 193 Photo: Rakuten Kobo 194 195 When reflecting on the inherent value of books as opposed to other forms of 196 digital media, Tamblyn underscores the unique way reading allows sustained, 197 uninterrupted exploration. “Once you’ve decided to start reading, no one is 198 trying to intervene until you get to the very end of the book,” he observes, 199 clearly energised by this idea. He contrasts this sharply with digital media’s 200 strategic interruptions, where attention is systematically sliced, packaged, 201 and sold. “There are lots of actors in the media world right now that want to 202 slice your focus into tiny pieces,” he says. “Books, in a way, are the opposite 203 of that.” 204 205 It is why Tamblyn believes that preserving books as a medium isn’t just 206 cultural nostalgia — it’s a societal imperative. “The idea that we can put 207 ourselves into other people’s lives and understand what those lives are like, 208 and that we can dig deep into ideas instead of just living on their surface, is 209 more important now than it’s ever been,” he stresses. His concern is that as a 210 society, we must safeguard this profound form of engagement, lest we lose the 211 capacity for meaningful understanding altogether. 212 213 When pressed to share a recent personal reading experience that resonated 214 deeply, Tamblyn describes being profoundly affected by a book titled [20] 215 Natural History of Vacant Lots by Matthew F. Vessel and Herbert H. Wong. His 216 voice softens with appreciation as he recounts the narrative. “It’s about these 217 abandoned spaces — vacant lots, places people left behind — and how nature 218 fights its way back into these places humans left behind,” he recalls. “There 219 was something about that idea that felt both stark and yet hopeful. Grounded 220 very much in the world we’re actually living in right now.” For Tamblyn, the 221 book’s power lay in its quiet authenticity, capturing the raw but hopeful 222 tension between humanity and nature. “There’s genuine hope in that tension — an 223 opportunity for growth, discovery, and renewal,” he muses. “There was just 224 something about the writing itself that hit me at a deeper level than most 225 books usually do.” 226 227 “We’ve managed to hold onto this idea — that it’s good to gain a deeper 228 understanding of an idea, or to let yourself fall into a story,” Tamblyn 229 concludes quietly yet firmly. “We don’t want people turning away from the idea 230 that reading is a good thing. When you can no longer put yourself in somebody 231 else’s shoes, when you can no longer go deeply into an idea — that’s when we 232 really start to get into trouble.” 233 234 His words resonate clearly, serving as both caution and invitation. Perhaps we 235 still read precisely because, deep down, we know that without stories, we risk 236 losing ourselves. In a world constantly shifting, polarisation grows, and 237 empathy seems to diminish, Tamblyn argues that books provide essential 238 grounding. They encourage reflection and understanding, qualities vital to 239 navigating modern life. And perhaps most importantly, books remind us of our 240 shared humanity. 241 242 Navigating a changing industry 243 244 Today, Tamblyn is acutely aware that the literary world he loves is navigating 245 increasingly turbulent waters. He leans back, carefully weighing his words as 246 he discusses the critical shifts occurring within book publishing and 247 bookselling — shifts that demand strategic agility from Rakuten Kobo and 248 vigilance from the industry at large. 249 250 “One big thing is consolidation,” Tamblyn explains. “We have fewer companies 251 getting bigger. Big companies are swallowing smaller ones.” He notes how this 252 creates a troubling uniformity in publishing: fewer editors and publishers are 253 left making critical decisions about which books see the light of day. “We have 254 five big English-language publishers (Penguin Random House, HarperCollins, 255 Simon & Schuster, Macmillan, and Hachette Book Group) right now, and they’re 256 growing by acquiring smaller publishers, each of whom might have had a very 257 different idea about what a book could be or the kinds of authors you should 258 nurture.” 259 260 Yet, even within this concern lies opportunity. Tamblyn’s tone shifts subtly, 261 becoming more hopeful as he discusses the rise of self-publishing and 262 independent publishing. “As the mainstream publishing world becomes more 263 consolidated, the independent publishing world becomes even more lively,” he 264 asserts. For Kobo, this energetic and expansive independent scene is 265 foundational. “Those two things hang in balance,” he observes. Kobo’s own 266 self-publishing platform, [21]Kobo Writing Life, provides independent authors 267 access to a global marketplace, bypassing traditional gatekeepers entirely. 268 “What we find when we go out into the self-published world is there are lots of 269 authors writing books people really want to read, who’ve never been able to get 270 through traditional publishing barriers,” he explains. “And now, they don’t 271 have to. They can use platforms like ours to directly reach millions of 272 readers, and those readers are there, actively looking for them.” 273 274 [hqdefault]Play 275 276 But while self-publishing offers exciting prospects, it presents unique 277 challenges too. When asked about advice for aspiring self-published authors, 278 Tamblyn pauses thoughtfully. “To say you’re self-publishing is really to say 279 you’re taking on all the jobs of a publisher for yourself,” he cautions. 280 “Instead of just being an author who’s putting a book into the world, you’re 281 really becoming a publisher of one.” 282 283 He stresses that independent publishing requires authors to master marketing, 284 audience building, and promotional strategies, tasks traditionally handled by 285 entire publishing teams. “Some authors love that,” Tamblyn acknowledges, 286 smiling. “They love the control, the direct engagement with their readership, 287 working with cover designers. But some just want to write. For those who just 288 want to write, self-publishing can feel like they’re constantly being pulled 289 away from the thing they love most.” It’s a tension that defines the modern 290 publishing landscape — authors torn between autonomy and support, personal 291 voice versus traditional validation. 292 293 Another significant challenge Tamblyn identifies is the dominance of powerful 294 retailers, whose growing influence risks limiting diversity in readers’ 295 choices. “We have some very dominant companies that want to become even more 296 dominant,” Tamblyn explains carefully. “Considering books can be an antidote to 297 extremism, the last thing we want is for people to find books through just one 298 algorithm or search box. You don’t want single points of control. You want lots 299 of different people selling books in lots of different ways.” 300 301 This, Tamblyn believes, is safeguarding intellectual diversity. “You never want 302 one single retailer deciding whether a book should find a market or reach an 303 audience. You need lots of people working on that all the time.” It’s a 304 conviction that Kobo itself embodies, striving to maintain a balanced, open 305 digital marketplace where varied voices flourish without centralised 306 constraints. 307 308 Amid these industry dynamics, the perpetual battle for readers’ heart and mind 309 remains a relentless challenge. “We can never assume people will just wake up 310 one morning and decide to read,” Tamblyn says firmly. “Especially when there 311 are so many other things competing for their attention. We have to be just as 312 aggressive about putting books in front of people as other companies are about 313 pulling them away.” 314 315 For Kobo, meeting this challenge involves constant innovation. Recently, Kobo 316 expanded its subscription service Kobo Plus, launching it in Singapore to 317 capture the burgeoning Asian digital market. With subscription plans offering 318 unlimited access to millions of eBooks and audiobooks at affordable prices, 319 Kobo positions itself directly in response to evolving reader habits and 320 expectations. 321 322 [hqdefault]Play 323 324 Kobo’s continuous technological evolution is equally central to Tamblyn’s 325 vision. Their latest range of eReaders — devices like Kobo Libra Colour, Kobo 326 Clara, and Kobo Sage — feature innovations such as waterproofing, ComfortLight 327 PRO for reduced eye strain, and intuitive page-turn buttons, all meticulously 328 designed to foster immersive, comfortable reading experiences. “Ultimately, 329 it’s technology in the service of reading,” Tamblyn emphasises. “It’s 330 industrial design in the service of reading. It’s software development in the 331 service of reading.” 332 333 Navigating the complexities of the contemporary publishing industry is 334 undoubtedly challenging. Yet Tamblyn seems energised by these very challenges. 335 Each obstacle, he implies, creates room for innovation; each limitation invites 336 creative solutions. And as Tamblyn surveys the complexities ahead, it becomes 337 clear that he views Kobo as both a participant and a proactive steward of 338 reading culture, committed to preserving books as accessible, vital spaces of 339 imagination and connection — even amidst an industry experiencing profound 340 transformation. 341 342 The future of words 343 344 Looking ahead into the evolving landscape of storytelling, Tamblyn sees a 345 future where creativity and technology will blend in ways both exhilarating and 346 challenging. Nowhere is this clearer — or perhaps more controversial — than in 347 the growing presence of artificial intelligence within the literary world. 348 “What AI has done for me is put a spotlight on the value of ideas and the value 349 of words,” Tamblyn observes, “while at the same time highlighting how some 350 people really just see words as raw material.” 351 352 Tamblyn’s perspective on AI is cautiously optimistic, yet deeply nuanced. He 353 readily acknowledges the flood of AI-generated content that increasingly 354 inundates platforms, including Kobo’s own self-publishing division, Kobo 355 Writing Life. “We’re currently inundated by a river of AI-generated stuff, most 356 of which is terrible,” he admits laughing. For Kobo, managing this influx of 357 low-quality AI content has become both a logistical and philosophical 358 challenge. “We don’t want people to have to filter through lots of bad content 359 to find the good,” Tamblyn continues. “That means figuring out how to detect 360 AI-generated content, sometimes using AI itself, which is its own challenge.” 361 362 [hqdefault]Play 363 364 Yet, for all its challenges, Tamblyn remains intrigued by the genuine 365 possibilities AI offers to serious writers. Far from dismissing AI entirely, he 366 anticipates it becoming an invaluable tool in the writer’s toolkit, reshaping 367 the creative process itself. “We also know there are authors who are going to 368 use AI as a tool — maybe as a research assistant, or as a way to collect and 369 organise thoughts so they can produce bigger, more important works more 370 easily,” he explains. “It might let them spend more time on the words 371 themselves rather than collecting all the information behind it.” Today, 372 Tamblyn imagines a future where AI quietly facilitates richer literary work, 373 streamlining cumbersome processes without diminishing the originality and depth 374 of human creativity. “We can safely assume that’s already happening — that many 375 writers now have something sitting off to the side helping organise their text, 376 collating research, or maybe handling a passage they can’t quite get right,” 377 Tamblyn suggests. “Throwing it into the AI to see if the alternative feels 378 better.” 379 380 But what about the fear that AI might eventually replace human authors 381 entirely? “All these various AI techniques are fundamentally predictive by 382 nature,” he points out. “They’re about creating works based on the average of 383 all the works they’ve seen before. New writing and new literature, on the other 384 hand, is always about stepping ahead of that — creating something you’ve never 385 seen before. That’s directly in opposition to how an LLM functions.” In this 386 crucial distinction, Tamblyn finds comfort — and confidence — that AI, while 387 powerful, ultimately complements rather than threatens authentic creativity. 388 “That fundamental idea of creativity is still, I think, the thing that 389 relegates AI to a tool rather than a replacement for real writing,” he asserts. 390 391 Still, he doesn’t entirely rule out the possibility that something genuinely 392 groundbreaking could emerge from an AI-driven collaboration. “Any time you put 393 an artist in front of a new tool, they’re going to find ways to do something 394 interesting,” Tamblyn acknowledges. “We’ll end up selling it, and we probably 395 won’t even realise it until the author puts up their hand and says, ‘Listen, 396 here’s how I made this.’” 397 398 Tamblyn reflects briefly, adding a practical note: the economics of 399 AI-generated literature remain challenging. “Oddly enough, what seems to 400 protect us from that right now is the cost of generating it,” he observes. “The 401 computing power required is so expensive, and the amount of money you can 402 actually make off a book is so small, that the gap is currently too wide.” 403 404 Choosing the reader, every time 405 406 As he peers further into Kobo’s future, Tamblyn reveals a guiding principle 407 that grounds every strategic decision the company makes — one anchored firmly 408 in his dual identity as both technologist and devoted bibliophile. “If we ever 409 have to make a decision — if we ever have to choose between two paths — we 410 always ask: what’s the thing that’s going to make a person’s reading life 411 better?” he explains earnestly. “We look at that person who’s really put books 412 at the centre of their life and choose the path that will make that person’s 413 reading experience more enjoyable.” 414 415 Ultimately, Tamblyn’s vision for Kobo — and the broader literary world — is one 416 where technology disappears seamlessly into the reading experience, empowering 417 readers rather than distracting them. “We really win when the book takes over, 418 when the author’s words take over, and all the technology and design fade 419 away,” he says with quiet conviction. “If we can do that, then we’ve done 420 something truly impressive.” 421 422 His optimism extends beyond the bounds of Kobo and into a broader hope for 423 society. Despite pervasive cynicism and an increasingly polarised digital 424 landscape, Tamblyn believes that humanity’s inherent creative impulse remains 425 resilient and powerful. “We, as a species, have this impulse towards 426 creativity, towards goodness and kindness that’s really hard to stamp out,” he 427 reflects. “Even though we have a media landscape encouraging us to focus 428 constantly on the negative, there are interesting, hopeful, optimistic things 429 happening all around us all the time — if we can just pay heed to them.” 430 431 Tamblyn pauses. “So much of the work now, I think, in being a conscious person 432 in the world, is about being disciplined about where we put our attention, 433 instead of just letting it be managed for us.” 434 435 As our interview draws to a close, Tamblyn’s hopeful gaze turns towards a 436 literary future rich with possibility, tempered by thoughtful caution. The path 437 forward as he paints it is one of mindful innovation — of harnessing technology 438 without losing sight of humanity. For Michael Tamblyn, the future of words is 439 bright, precisely because it remains, unmistakably, human. 440 441 [25]Business Leaders 442 443 Share this article 444 445 [26][27][28][29][30] 446 ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 447 [31]PEAK Singapore 448 [32][33][34][35] 449 [36]About Us 450 [37]Advertise With Us 451 [38]Contact 452 [39]Terms and Conditions 453 [40]Privacy Policy 454 [41]PDPA 455 [42]SPH Logo 456 MDDI (P) 062/10/2024. Published by SPH Media Limited, Co. Regn. No. 202120748H. 457 Copyright © 2025 SPH Media Limited. 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