MangaCast relays some very valuable tips from the editor judges of the MIMC international manga competition for would be participants, or anyone who wants to improve their manga. Ed Chavez also makes an observation on DMP’s impetus for creating the Doki Doki imprint that no one else has considered… go read.
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Look at all the cool stuff you can do with a two-panel ebook reader.
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This BBC report on how films are screened and censored for that market is rather amusing not just because it shows how subjective the process is, but also because one examiner, when quizzed on the effects of reviewing pornography for a living, inadvertently undermines the whole inducement rationale behind the banning of extreme porn:
But do examiners risk becoming desensitised?
(snip)
“If you see something which is raw, misogynistic, aggressive and violent you don’t become desensitised to it. What is not right is never right.”
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Found via A Geek By Any Other Name, former PiQ editor Kevin Gifford attributes that magazine’s failure to the general challenges all print news and special interest publications are facing… namely, online competition. The revelation that PiQ’s fate was in the hands of impatient creditors and banks is also not very encouraging for ADV overall.
Not related… in Geek’s comments section, there is mention of a Jem-Con. As a grown man pushing 30, should I be ashamed that I remember the lyrics to Jem’s opening theme?
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There’s some nice back-and-forth at The Beat on bad publishing deals and why people continue to fall for them. Also, Lea Hernandez responds to one Tokyopop creator’s assertion that the details of the contract is no one else’s business and shouldn’t be discussed online. (Second link via Journalista.)
Admittedly, it’s getting harder and harder to have any sympathy for those who don’t get paid, don’t get published, or completely lose their rights to their creations, then bitch about it, when so much available information and warnings go unheeded, dismissed as bitterness from those with an axe to grind. But as futile as such well-intentioned naggings may be, reading a news article about the infamous Nigerian check scam reaffirms the importance of continuing the public conversation: as long as individuals fall for this crap, it’ll continue to poison the community. This is beyond the private dealings of any one creator and publisher, and those who subscribe to the hear no evil, we-can-raise-consumer-confidence-by-not-talking-about-it policy of silence are delusional.
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Just one little heads-up for those who are worried about their July Tokyopop books… there is one TP title on Diamond’s cancellation notice:
- HANNAH MONTANA CINEMANGA GN VOL 06
*cricket sounds*
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You know the DMP/Shinshokan deal is interesting. At a time when people are spreading rumors about Japanese pubs coming to this market, seeing Shinshokan further entrench themselves with DMP is actually refreshing. To me it shows confidence that DMP has a good grip on the BL market and that their Japanese partners see that also. So much so that unlike Ohzora, Shinshokan (which in my opinion has a better catalog) would rather stay pat with a little perk of their own imprint (in case things do change down the line).
Still considering how Viz labels non-SJ Shueisha titles SJ Advanced I was a little surprised by the move not to go with the Dear+ label though. Wouldn’t it be interesting if Yen had to label all SquareEnix books Yen Plus. Or given Squenix’s “Napoleon complex” attitude when it comes to publishing maybe they’d want their imprint to be called Yen+SqE…
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Nah, Shinshokan isn’t that big. But to be honest I wouldn’t say Ohzora is big either (which is why most of Aurora/Deux books are licensed from old BiBLOS artists, Futabasha, and the now defunct Asahi Sonorama only is LuvLuv, the teen love line, all Ohzora).
Heh, I am not buying that BL has peaked either. I mean you can hardly get them at B&N and they are still doing well.
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