ðHappy Halloween!ð»
Interested in why twin sisters Jeanie and Amber are getting eerie dreams at their new boarding schools, known for vanishing schoolgirls?
Here's chapter 1 of "The Dreaming" manga trilogy [COMPLETED]!
âSunset Protocolâ, chap1, p36-37.
Ugh, Iâm sick this week. Trying to drink more fluids and recover.
1 more update till the end of Chapter 1!
#sunsetprotocol#indiemanga
âSunset Protocolâ, chap1, p34-35.
The first of some Yothic-branded tech⊠the presence of corporations are all encompassing these days and this manga looks to capture that visually.
5 pages left to the end of Chapter 1!
#sunsetprotocol#indiemanga
3 common mistakes in book proposals, but may work for manga too? ð€
1ïžâ£ The story is about "what the author wants to say" rather than "what the reader wants to read." â a common suggestion from manga editors is that creators need to consider what readers want.
2ïžâ£ No similar books exist because "this is highly originalââif nothing similar exists, it COULD because it appeals to no one.
3ïžâ£ The title is just a straightforward summary of the contentâworks fine for light novels, but titles are extremely important. Choosing a title that is hard to spell, boring or not descriptive, or too common, can ruin a mangaâs searchability. A title has to be tantalising and accurate, but only partly descriptive.
Recently, there has been reports of mangaka suffering from ill-treatment.
This posts makes an important suggestion: to create some sort of Japanese mangaka association that will look out for the rights and well-being of its members. ð€
Itâs not a union because mangaka arenât employees, but it is a crucial support structure for freelancers/contract workers (which mangaka are).
This post names the odds of one mangaka amongst manyâŠ
â- 300,000 aspiring manga artists
- 100,000 people who can complete a manga
- 6,000 people who can become professional manga artists
- 1,000 people who can make a hit work and make a living from itâ
With foreign mangaka entering the fray, but also the market expanding⊠these numbers are about to undergo a big change.
Both scary and exciting⊠ðð
Hirohiko Araki says: âthe enemy of a manga artist is anxiety.â
Given his unique style for his âJoJoâs Bizarre Adventureâ series, I wonder how many times in his earlier days did Araki-sensei question what he drew? Eventually, after many years, it become iconic, but only because he stuck to his guns.
Itâs hard to imagine Araki-sensei struggling when he started outâhis position in the art world NOW is so assured, we donât realise there was a time where his work was questioned by everyone.
âthe things that come from anxiety only make you waver, and in the end, you can't write anything but trivial proseââthis is correct.
The bold may not succeed, but at least they tried, and that has more value than the bland and timid.
@nemu_asahi I spent the past 2 months working on a one-shot so I didnât feel I got much done either.
Donât feel discouraged! Itâs a long road so taking a break occasionally is fine.
âSunset Protocolâ, chap1, p34-35.
The first of some Yothic-branded tech⊠the presence of corporations are all encompassing these days and this manga looks to capture that visually.
5 pages left to the end of Chapter 1!
#sunsetprotocol#indiemanga
âSunset Protocolâ, chap1, p32-33.
The tension continues to ratchet up⊠coming to a head next 2 pages!
6 pages left to the end of Chapter 1! #sunsetprotocol#ThrillerManga
A detailed post about the expenses of being a mangaka in a world with inflation & rising software costs BUT stagnant page rates.
âBut if you don't pay assistants a decent wage, you won't get anyone [âŠ] the manga industry is overflowing with people who want to become creators.â
Assistants are in shorter supply than before. If you donât pay well, theyâll rather do original work (even as a hobby), so that creates a stranglehold even on the pros.
âonly the manga artists who smartly incorporate tech like 3D or AI to cut costs and ramp up production speed will be able to make a living going forward.â
AI mangaka are already on the rise, and muscling into the traditional creator arena. Is the future dependent on a mix of 3D and AI art, and will assistants be the ones to bring that knowledge?
But if an assistant can produce in 3D and AI, why be an assistant? Why not be a full-on hobby creator? Unless assistant work pays really well.
A frightening dilemma for all creators in the future.
Thanks to @SupanovaExpo for inviting me as guest to their 3-day expo in Sydney!
Thanks also to everyone who bought a copy of Sister Holmes, and all who dropped by to buy and chat!
See you all next year! âðŒð«¡
An important thread about a Manga league meeting, where Japanese editors air the structural issues of the manga industry.
@nemu_asahi replies with his take on the problems:
- Low royalties
- Black box ebook platforms and revenue split
- More people preferring to draw manga as a hobby rather than professionally - AI overtaking actual creators
- Piracy
So, professionnals of the manga world did a meeting and they are worried about a lot of things:
â¶ïžManuscript fees are too low.
Of course they are! 1 man/page, from which you take 50% off because of all the taxes. 10 hours to draw a page, which means mangaka are paid 500 yen/hour.
Big companies making millions of dollars are paying their freelancers (mangaka) 500 yen/hour. ð
â¶ïžThe number of people wanting to become mangaka is decreasing, while the number of those drawing as a hobby (doujinshi and internet) is increasing.
Well, for sure. Because:
1) Manuscript fees are too low so it's impossible to make a living with it.
2) Working conditions are horrible (number of hours, no breaks, no work life balance etc.)
3) Doing free work with no guarantee is mandatory.
Editors ask mangaka to do big retakes without paying them more money, and can refuse projects though freelancers have worked months on it with them, under their supervision and TAKING THEIR ORDERS.
I assure you I can't do that with designers for example and I wouldn't EVEN THINK ABOUT DOING IT. It would be totally UNETHICAL to do so.
When I ask a Japanese mangaka/designer/illustrator to work with me, I do everything I can to try to create good working conditions, though I'm just a single person with limited means and not a big company with a lot of money.
Can you imagine doing with a house what publishers do with manga?
You ask the building company (designer of the house) to build you a house and then you choose to not buy it at the end because it's not to your liking. Or you say "build me 3 houses and I will choose one from them". WTF?
4) Mangaka are only paid at the end.
Mangaka have bills to pay while making manga. If an editor ask to work with a mangaka, giving him instructions to alterate the manuscript, then it's a contract.
Can you imagine paying for a house only at the end? No, you pay some of the sum at the beginning of the work, then some again when you have the structure of the house achieved. The last part is paid when you get the keys of the house.
Some veterans mangaka say it's ok to work without being paid, because then you can bring the project to another editor, but I disagree with it.
The project should be PAID AND PUBLISHED by the publisher, for one year at least. After that, if the publisher wants to take it down because it's not to its liking, then he can.
Publishing the result is a proof of work with this publisher for this freelancer. Manuscript fees are "publishing fees". So mangaka can be paid with other fees (preparation fees, ææ fees etc.) while working on the project.
We are talking about big companies, they CAN do it. If they are serious about creating new profitable IPs of course.
Big pharmaceutical companies pay their research teams to develop new pharmaceutical IPs (drugs, patents etc.), regardless of the result.
5) Opaque contract terms and sometimes conditions DIFFERENT from what the editor said to the author.
Impossible to discuss the terms of the contract because "it's standard". Like "if you don't sign, there are tons of other mangaka wanting to take your place, you know? *evil grin*
So don't be surprised that young Japanese prefer to become illustrators or designers instead of mangaka, or even prefer making manga as a hobby while having a stable job, with a good work life balance.
People drawing as a hobby are not paid either for their work, but at least nobody tells them what to draw, or to respect the deadline even if they have to jeopardize their health to do so.
They are worried about other things, but my post is already too long. Ranting a lot, sorry.ð
A post from the Japanese manga industry about âEditor Maximsâ. Meant to teach editors, but useful for artists too:
ðStoryboards (Structure & Plot)
· 1st pass: Read as a reader
· 2nd pass: Look for points that hooked you.
· 3rd pass: Read while thinking how to fix
· Expectations: Betray expectations, but fulfill hopes.
· WEBTOON: Read on a smartphone.
· Ideal: Being able to read it even without dialogue is ideal.
· Consistency: Art and text must match
· Highlight: Include panels or lines that you want to show off to others
· Goal: Decide what this story is about.
ð³Characters
· Main Character: The one who can connect with anyone.
· Sub-characters: Exist solely to draw out the main character's appeal.
· Placement: Character positioning creates the story.
· Sales: A sellable character is packed with the author's fetishes/interests.
âðŒComposition
· Pacing: Get into the main subject by the first 6pgs
· Opening: Start from the "main character's strong emotions."
ðšArt
· Key Scene: Positioned at the reader's eye level.
· Expression: Donât avoid drawing facial expressions.
· Impact: Create "standout" panels.
· Priority: Eyes > Face > Hands (in order of importance).
ðPlanning
· Benchmark: Surpass the benchmark.
· Novelty: If it's super fun, it will naturally feel new.
· Feedback: The more honest the feedback, the better.
· Killer Move: Make a "killer point" to win.
· Tailoring: Suit the project to the author's style
· Target: Create a plan where your strengths are the core, and weaknesses are outside the core
ðAnalysis
· Practice: If you want to sell 100 copies, read 1 volume 100 times.
· Analysis: Analyze how the 1st chapter of new serializations are doing.
· Copying: Trace/mimic easy-to-read storyboards
· Input: Do not watch manga or movies (to avoid influence).
· Source Material: Get your inspiration/ideas from a distant place
ðMindset
· Ideas: Submit ideas even if you think they might fail.
· Feedback: Quick responses are good
· Responsibility: If the work sells, it's thanks to the author; if it doesn't sell, it's the editor's fault.
· Ownership: Be a fan/advocate of your own work = Do not create work you cannot be a fan of.