Forum - View topicANNCast - Pop Vulture
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Moomintroll
 Posts: 1600 Location: Nottingham (UK) |
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Fanfare / Ponent Mon Vertical Fantagraphics Drawn & Quarterly Last Gasp Viz's Signature and SigIKKI imprints |
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CardcaptorKitty
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Great podcast! I was kind of surprised I sat through the whole thing - I typically don't do that with any sort of podcast, really.
I am, of course, sad that Tokyopop has vanished without a concrete explanation of why or if it could be fixed up to still release some titles, or at least finish the ones they had, but it's true, it will definitely be just part of history and, while strange to think right now, they won't be known by new manga fans. Argh, I'll just feel even more old! But yeah, listening to all of Stu Levy's whacky adventures over the course of the Tokyopop lifeline did make me laugh somewhat and did help me think of Tokyopop's reign full circle. I was one of those "suckers" (for lack of a better term) that kept seeing all the advertisements for Princess Ai and going, "What the heck makes this series so popular?" and picked it up, haha. Poor Aria. I liked what little I read of the manga from a friend and did eventually want to pick it up. Sigh. The only thing that makes me disappointed about how distribution is working out now is the whole electronic versus being printed on paper scenario - maybe it is a mix of nostalgia and just loving to walk into a library or bookstore to physically flip through books and see so many at one time that thrills me and encourages me to buy more than I can handle at a time. I don't care much for reading my manga online nor do I really like ordering it online. Sure, there's small previews that can be looked through and a description word-for-word that is on the back cover, but it's just not the same. Borders is my primary place to buy manga because I like to see what's physically available to me, despite cheaper prices online and all. So if they did go out of business, I imagine I would buy manga somewhat less just from lack of immediate access. Just a picture of a book is a lot different from being able to physically touch and inspect a book you're considering making a purchase on. There's things you notice or things you can do (like read a bit outside of the small introductory preview) that you can't do with online purchasing. Okay, yeah, so what - I totally just described why distribution is having this issue and why manga companies will have trouble with doing so. While I want to think distributing books by paper will always be available, realistically I don't think that will always be the case. I imagine many will be electronic and downloadable while some special chosen few may be printed. I'm sure there will always be prints of art and posters and things, but the printed word not so much. Maybe it's a matter of me needing to "get with the times, e-paper is where it's at," but I freaking love owning books - namely manga - despite how much space they may take up and how expensive they can be. Okay, okay. Worries and rant over. Last edited by CardcaptorKitty on Wed Aug 21, 2019 9:18 pm; edited 1 time in total |
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mdallasm
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I enjoyed listening to the podcast, but I feel I need to challenge something that Erica said, especially as I think it's an important point for any aspiring manga artists.
It is categorically NOT common practice for a publisher to own your intellectual property in the manner that Tokyopop did when they signed up new authors. I'm not saying that it never happens, but it's really quite unusual in the business today. Erica specifically cited at least one major publisher - I can't remember which one, I think it was Simon and Schuster - that made it standard practice to take control of your IP whenever you get a book contract. They don't do that, and this just isn't the way major book publishers work. I'm hoping that these statements were just confusion about the difference between copyright and IP. It's common for a publisher to retain the print rights to the work they publish for term of copyright - that is, for as long as the author owns it. But owning print rights is a far cry from owning the trademark or the copyright. If I publish a book with a major publisher under a standard contract tomorrow, they've got the rights to print that book for the next 99 years. But if my agent sells the story to Hollywood, my publisher has nothing to do with that. The only thing they own is the rights to print the book they bought. They don't own the characters, they don't own the story, and they don't get to control what I've created. Some publishers do work this way, and there's nothing wrong with that as long as you know what you're getting into. Some publishers hire writers under "work for hire" deals, where it's clear from the beginning that the writer has no ownership whatsoever of the work they've done. But these are usually for licensed books of some kind, like Star Trek novels or Superman comics, or for cases where the writer has not created the story and is being asked to execute from someone else's vision. If you're a writer looking to get published, you should always have someone review the contract, preferable a lawyer or an agent. There's nothing wrong with signing away the rights to your work to get a leg up, if that's what you want to do. Just know that large, established companies usually don't work that way. |
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Eri94
 Posts: 220 |
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I'm not one to nitpick THAT much, but come on, freaking seriously? She is pronouncing Naruto as nah-ru-dough? That's just ridiculous.
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