Jangan lupa larisin “Malam Putih” karya Korrie Layun Rampan juga yaa. Ada jaminan kertasnya udah nggak kayak buku bajakan. Kali ini pake bookpaper sumpaaah pls beli cuma 35rb ajaa (masih dapet postcard & art print yg kece abissss)
📌 beli di sini: https://t.co/woQ3YlNrGG
@batjaanrakjat Usaha yang layak didukung, min. 🥹
Tahun 2019-an saya jual buku BP krn ada yg pesan. Dari situ sedih sendiri krn ketinggalan jaman. 🥲
Maaf ya, mau ngga mau jadi bandingkan dg YOI krn cover mereka bagus & jelas jalur distribusinya. Semoga kamu yg anak tiri jg bisa bangkit.
Dengan modal ala kadarnya kami masih usaha setahun belakangan ini. Sekarang Balai Pustaka punya 2 lini penerbitan kak: Batjaan Rakjat dan Kunang-Kunang (khusus anak). Support terus ya sampai kami bisa menerbitkan karya-karya lainnyaaaa😁 (duh terharu jujur ada yg ngomongin BP)
sebagai orang yg sedikit banyak tau apa yg dialami penerbit tersebut, setahun belakangan mereka berbenah, meski dgn segala keterbatasan. statusnya saat ini masih terombang-ambing. danantara atau apapun itu yg disebut-sebut menaunginya, terlalu profit oriented, jd ya pasti —
nah masalahnya “kalo”-nya ini entah kapan terjadi… di perpustakaan kami ada ribuan naskah yang menanti-nanti sampai ke tangan masyarakat skrg. lagi dan lagi, yang bisa dilakukan saat ini hanya berharap ada duit jatuh dari langit (buat bayar dosa masa lalu, jg buat modal cetak)😅
Penerbit Jogja tuh banyak yang nakal. Ini yang di-mention Kakaktua pemain lama yang ngga ada tobatnya. Selain itu, ada juga yang mainnya separo-separo, kadang legal kadang ngga. Huft.
Ngikutin Thalita dan Dhinda sejak sirnas remaja. Tahun ini dua duanya mentas di Uber Cup. Dan yang paling mengejutkan, Thalita bisa perpanjang nafas INA vs KOR 😭😭
Padahal dulu pas junior, Lita sering gemeter kalo lawan WS Asia Timur. Progress yang apalah luar biasa!
Tongueless karya Lau Yee-Wa menang Chommanard International Women Literary Award. Edisi bahasa Indonesia akan terbit dalam waktu dekat, penerjemah Naomi Midori langsung dari bahasa Mandarin.
Bagaimana nggak darderdor!
Kemarin pas di rumah Ibu Reda juga bahas soal ini. Kata Kak Dylan (penjaga perpusnya), Bu Reda kan sering jd juri lomba cerpen anak gitu, dia sering ngomel2 knp banyak yg bikin cerpen pada nulis, "pesan tersirat nya bla2 segala macem."
Padahal mah ga perlu dijelasin scr gamblang.
Media sosial juga dibuat seperti lampiran kegiatan rapat. Ngga ada tuh ulasan buku, dsb.
Lebih herannya lagi, perpusnas kan punya program pembagian buku untuk KBM. Nah, pas festival literasi, KBM itu dikasih booth. Bukannya menampilkan koleksi, malah jualan makanan. 🥲
Proses pengantaran dari satu perpus ke perpus lain juga cepet. Order pagi hari sebelum perpus buka, siangnya udah bisa diambil. 🥹
Lalu, koleksinya juga update. Ada komik juga. Luvv banget.
ASLI WEH SEMUA ORANG HARUS TAU KALO SISTEM PEMINJAMAN BUKU DI PERPUSTAKAAN JAKARTA SEGACOR ITU!
Antar perpusdanya udah saling terintegrasi karena pake sistem inter library loan, jadi kita bisa bebas minjem buku dari mana aja, dan ngambilnya pun bebas mau dari perpus mana. 😭
Sebagai komparasi, di kabupatenku dulu koleksinya asal ada, ngga kaya koleksi orang yang ngikutin buku. Dana dari perpusnas dipakai buat seminar yang pesertanya dapat sangu, tas jelek, dst. Kesannya biar ada laporan, bukan beneran aktivasi agar orang berminat membaca. 🥲
This may be a somewhat unfortunate observation, but the Japanese manga industry does not pay much attention to overseas markets.
In a way, this situation is remarkably similar to Hollywood up until the 1980s.
Hollywood films were global hits, yet their storytelling and visual style were clearly created primarily for American audiences and the domestic market.
The reason becomes clear when you look at the revenue structure.
The global manga market can be roughly divided into $5 billion in Japan’s domestic market and about $6 billion overseas.
In terms of market size alone, the overseas market is actually larger than Japan’s domestic market.
(Of course, the data may not be perfectly precise, and I appreciate your understanding.)
However, from the perspective of mangakas, the situation looks very different.
In Japan, royalties on tankōbon (collected volumes) are typically around 10%,
whereas overseas royalties are usually only about 3%.
This means that the total expected royalty income for Japanese manga artists is approximately:
$500 million from the domestic market,
but only about $200 million from overseas markets.
(In reality, the situation is more complex—since not all domestic revenue comes from print volumes, and e-book royalty rates differ—but the overall conclusion remains the same: domestic earnings exceed $500 million.)
If we look specifically at North America, the Japanese manga market there is about $1.1 billion,
yet the expected returns to Japanese creators are only about one-fifteenth of what they earn in the domestic Japanese market.
In short, while the overseas market is large, the income flowing back is relatively small.
This is even more pronounced from the perspective of publishers.
Because of this, Japanese manga—like Hollywood films before the 1990s—are not created with strong consideration for overseas audiences.
Hollywood only began to seriously consider international audiences when direct distribution expanded in the 1990s.
From that point on, the concept of “well-made” productions, designed for global appeal, began to emerge.
Similarly, if Japanese manga begins to directly reach overseas markets through digital platforms, creators will naturally start to place greater importance on international readers.
People often believe that works themselves shape the market—but in reality, it is usually the market that shapes the works and the mindset behind them.
And in the 21st century, markets are shaped by VISION AND FORESIGHT.
I recently saw an article suggesting that the Japanese government—specifically the Ministry of Education—is attempting a bold initiative in this direction.
What will the future of manga look like?
No one can say for certain.
But it is clear that Japanese creators, readers, and publishers all need to begin preparing.
Perhaps those who need to prepare the most are the existing overseas manga publishers.
Every change is an opportunity.
I hope you will keep that in mind and prepare for what lies ahead.
Thank you so much for taking the time to read this long message. 5/5
P.S. I was planning to end this long message here, but as I was writing, a few more thoughts came to mind—so I’d like to continue a bit further.^^
Pesan ini ngga pernah berbalas. Sebelumnya juga cukup sering diabaikan. Begitu lah kira-kira komunikasi antara toko buku dan penerbit Lentera Dipantara. Dari dulu terkenal. 😂
Padahal waktu itu aku cukup PD mau mengambil sampai 100 eks. Jumlah yang banyak untuk toko buku kecil.
Ya memang begitulah kalau buku dianggap aset ekonomi dan bukan aset intelektual
Karya mendiang Pram seharusnya sudah jadi arsip nasional yg bisa diakses siapa aja tapi kini dimonopoli oleh satu penerbit besar demi meraup keuntungan
Buku langka itu cuma trik marketing