Manga

A few revelations about the Manga business

The other comics event this July was the Los Angeles Anime Expo, where I spent a glorious few days talking manga with knowledgeable, enthusiastic people, gaping at toys and action figures, and filling in holes in my collection with $1 manga blow-outs. The panels at the Expo were very accessible – no SDCC-level long lines or waiting times. I had the opportunity to talk a bit with Carl Horn, the editor of Dark Horse manga, and with Ed Chavez, publisher, Vertical, both being companies that rock my world with their fantastic titles. When chatting with them, I found out certain things that make me look at the whole business in a different way altogether.

  1. When I asked them the number of copies they should sell in order to be profitable, for a single volume, the number Carl gave me was 2500, and Ed said 3000. This is a stunningly low number in my opinion, to think that these great stories do not sell that many copies around the world. Yes, both companies have their superstar titles – Vertical had Tezuka’s Buddha and Kirihito; Gundam: The Origin and Chi’s Sweet Home, while DHM has Berserk, Gantz and Blade of the Immortal, among others. But the number of buyers for out-of-the-ordinary titles like Kurosagi Corpse Delivery Service or Twin Spica or Hiroshi Endo’s Eden is painfully low.
  2. Long-running series are hit the worst, as the number of readers slowly degrade over time and the number of volumes. Dark Horse deals with this by limiting the number of releases of slow-selling titles to one per year, while Vertical refuses to handle long-running series (any series that is beyond 4 or 5 volumes). One exception so far for Vertical is the Gundam: Origin series, which have been pre-order hits. But that is to be explained away by the fact that the Gundam franchise is a juggernaut.
  3. Picking a new series to license involves a complicated algorithm. Vertical has working relationships with certain Japanese companies such as Tezuka Productions and Kodansha. The latter has its own US publishing arm, after having licensed some of its heavy-hitters to other US companies in the past – Akira to Epic and Dark Horse for example.  Vertical’s relationship with others companies like Akita Shoten, Shogakukan and Shueisha is non-existent.
  4. Kodansha nowadays publishes its popular titles (Attack on TitanAkira) themselves, and license titles like Drops of God to Vertical.
  5. Vertical lost money on GTO: The Early Years (or Shonan Junai Gumi) which was the prequel to the best-selling GTO manga published by Tokyopop. The latter went out of business a few years ago, leaving a bunch of licenses high and dry, a great number of titles out-of-print. Vertical picked up GTO Early Years from volume 10 onwards, where Tokyopop had left them unfinished. Sales were dismal, despite a good price-point and titles being released in two-volume omnibuses.
  6. Most of the Tezuka titles that Vertical has licensed will not be reprinted. This is because of an initiative by the Tezuka estate and the company Digital Manga Publishing, by which DMP owns rights to print all of Tezuka’s oeuvre in English digitally. Titles such as Black Jack and Princess Knight are already going out of print.
  7.  Vertical has tri-annual reader polls on what titles they should license from Japan. They have some conditions about which books they cannot publish – anything before 2000, no long series, no Go Nagai books, and no novels, because they have a long list of novels already. (They published Takeshi Kitano’s A Guru is Born, and Koji Suzuki’s Edge, which won the Shirley Jackson award this year)
  8. Dark Horse seems more focused on franchises that worked out well already, and creators associated with those franchises. They are about to publish Shin Kozure Okami, the sequel to Lone Wolf and Cub, along with more books by Clamp, Yashuhiro Nightow and Yoshitaka Amano. Titles such as Lone Wolf and Trigun are being rereleased in omnibus format.
  9. Long running DHP titles such as Blade of the Immortal and Gantz end soon, and it will be interesting to see what takes their place.
  10. Both Carl and Ed are very disappointed with the titles that did not work out. Twin Spica was licensed because it was a huge success in Japan, but fared much worse than Seven Billion Needles. The wine-themed Drops of God is a bestseller in France and Japan, but lost a lot of readers by volume 4, making it unfeasible to publish (it is up to 25+ volumes in France). Dark Horse could not complete the five-volume Satsuma Gishiden by Hiroshi Hirata, and Eden has been on hiatus for a long time (after 13 volumes published out of 18) despite getting rave reviews initially. Blood Blockade Battlefront, by Trigun creator Yashuhiro Nightow isn’t selling as expected either.
  11. Despite all this, there is a manga resurgence of sorts. More and more people are reading manga, and Josei titles like Utsubora and Moyoco Anno’s Sakuran are making their way to fans and readers.

The high-point of AX was getting to meet director Makoto Shinkai, director of Five Centimeters Per Second and The Garden of Words. Shinkai-san is much younger than I thought, and the line for his signing went around four corners of the gigantic lounge. A lesser person would have capped the line when he saw the crowd and that there were 20 minutes remaining, but Shinkai-san blazed through the line, saying “we can do it!”. I got my copy of the Five Centimeters manga signed. It was published by Vertical, but you knew that already, didn’t you?

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Books

The Quotable Jaron Lanier

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I usually do not take notes when reading a book, but Jaron Lanier‘s Who Owns the Future is a delicious collection of insights about our modern world that just begged to be remarked upon. This book had the rare quality of making me rethink my own standpoint about the digital economy.

These days music is more than a need to be met. Musicians who seek to make a living are goaded by the preferences of the marketplace into becoming symbols of a culture or a counterculture. The counter-cultural ones become a little wounded, vulnerable, wild, dangerous, or strange. Music is no longer a nutrient to be supplied, but something more mystical, a forge of meaning and identity: the realization of flow in life.

***

Copying a musician’s music ruins economic dignity. It doesn’t necessarily deny the musician any form of income, but it does mean that the musician is restricted to a real-time economic life. That means one gets paid to perform, perhaps, but not paid for music one has recorded in the past. It is one thing to sing for your supper occasionally, but to have to do so for every meal forces you into a peasant’s dilemma. The peasant’s dilemma is that there’s no buffer. A musician who is sick or old, or who has a sick kid, cannot perform and cannot earn. A few musicians, a very tiny number indeed, will do well, but even the most successful real-time-only careers can fall apart suddenly because of a spate of bad luck. Real life cannot avoid those spates, so eventually almost everyone living a real-time economic life falls on hard times. Meanwhile, some third-party spy service like a social network or search engine will invariably create persistent wealth from the information that is copied, the recordings. A musician living a real-time career, divorced from what used to be commonplace levees like royalties or mechanicals, is still free to pursue reputation and even income (through live gigs, T-shirts, etc.), but no longer wealth. The wealth goes to the central server.

***

Money forgets. Unlike the earliest ancient clay markings, mass-produced money, created first as coins—and much later on a printing press—no longer remembered the story of its individual conception. If we were to know the history of each dollar, the world would be torn apart by war to an even greater degree than it already is, because people are even more clannish than greedy. Money allows blood enemies to collaborate; when money changes hands we forget for at least a moment the history of conflict and the potential for revenge.

***

Liars have to have the best memories. It’s more work to keep two sets of books than one set of books. The plague of toxic assets and mega-pyramid schemes, and the pointless growth spurt of the financial services sector would all have been impossible without vast computational resources remembering and sorting all the details needed to snooker people. The most egregious modern liars not only need computers, they can be inspired by them.

***

In antenimbosian* days, a local baker could deliver fresh bread more readily than a distant bread factory, even if the factory bread was cheaper, and a local banker could discern who was likely to repay a loan better than a distant analyst could. Each person who found success in a market economy was a local star.

Antenimbosian : ‘before the cloud’. What a lovely word!

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You never know how long it will take for scientific conclusions about big data to form. Science gives up the best punch lines ever, but delivers them with the most inconsistent timing.

***

In either case, once a Siren Server starts to get fooled by phony data, a dance begins. The Server hires mathematicians and Artificial Intelligence experts who try to use pure logic at a distance to filter out the lies. But to lie is not to be dumb. An arms race inevitably ensues, in which the hive mind of fakers attempts to outsmart a few clever programmers, and the balance of power shifts day to day.

Lanier uses the term ‘Siren Server’ for giant corporate farms of computers, that collect freely-volunteered information about our lives without consent, and are now being used for huge financial benefit by a super-rich few. The term “Siren” is used in the Greek mythological sense, and not in the fire-engine sense.

***

Every little genetic feature of you, from the crook of the corner of your eye to much of the way your body moves when you listen to music, was framed and formed by the negative spaces carved out by the pre-reproductive deaths of your would-be ancestors over hundreds of millions of years. You are the reverse image of inconceivable epochs of heartbreak and cruelty.

Just among the many delightful lines Lanier throws in about music and its effect on humankind.

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We have been obliged to invent our way out of the mess caused by our last inventions since we became human. It is our identity.

***

For better or worse, however, we technologists have made Kirk’s Wager: We believe that all this work will make the future better than the past.

***

Here’s typical advice I’d give to someone who wants to try the Silicon Valley startup game: Obviously you have to get someone else to do something on your server. This can start out as a petty activity. eBay started out as a trading site for people who collected Pez candy dispensers. The key is that it’s your server. If you’re getting a lot of traffic through someone else’s server, then you’re not really playing the game. If you get a lot of hits on a Facebook page, or for your pieces on the Huffington Post, then you are playing a little game, not the big game.

***

These click-through agreements are the grandiosely verbose descendants of the Zen koan about a tree falling in a forest that no one hears. No one will read them, so they are very unlikely to be tested in a legal proceeding. No one wants to read them, not even lawyers. Some lawyer at the Electronic Frontier Foundation or some such place might occasionally be able to make it through one of them, but that is rare. Since they are unread, they basically do not exist, except for setting the basic rule everyone understands, which is that the server takes no risks, only the users of the server.

***

Seeing movies and listening to music suggested to us by algorithms is relatively harmless, I suppose. But I hope that once in a while the users of those services resist the recommendations; our exposure to art shouldn’t be hemmed in by an algorithm that we merely want to believe predicts our tastes accurately. These algorithms do not represent emotion or meaning, only statistics and correlations.

***

The successful guru is neither universally nor arbitrarily scornful to followers, but there should be enough randomness to keep the followers guessing and off guard. When praise comes, it should be utterly piercing and luminous, so as to make the recipient feel as though they’ve never known love before that moment. Apple’s relationship with its customers often followed a similar course.

Jobs imported the marketing techniques of India’s gurus to the business of computation. Another way in which Jobs emulated the practices of gurus is in the psychology of pseudo-asceticism. Consider the way he used physical spaces. Jobs always created both personal and workspaces that were spare like an ashram, but it is the white Apple store interior that most recalls the ashram. White conveys purity, a holy place beyond reproach. At the same time, the white space must be highly structured and formal. There must be a tangible aura of discipline and adherence to the master’s plan.

***

Economics is not about your taste. Economics, once people have risen above basic needs into the middle class, is about the tastes of other people, whether you like it or not. It’s hard to say how much of the present-day economy is based on taste instead of need, since, as Abraham Maslow pointed out, the line shifts. At the very least, not only entertainment, but titanic industries like cosmetics, sports and recreation, tourism, design, fashion, hospitality, dining, hobbies, grooming, cosmetic surgery, and the majority of the activities of geekdom ought to count as “tastes” that have turned into needs as far as commerce is concerned.

***

To survive, the book business has to define a product for the upper horn, for the rich. In the music business, that upper tier takes the form of insanely expensive audiophile equipment and super-high-quality limited editions on vinyl. In the book business, there should be hyperlimited editions of books like this one, hand copied by monks onto handmade paper, using organic fair-trade inks, and sold only in VIP rooms at parties where almost no one can get in.

***

Civilization will remain by definition a mostly voluntary project, a miracle.

***

The book is too idealistic a read, at times. It does not veer into futurism and utopian worldviews, but just barely. Will be interesting to see how its views hold up in a few years.

And finally:

The core ideal of the Internet is that one trusts people, and that given an opportunity, people will find their way to be reasonably decent. I happily restate my loyalty to that ideal. It’s all we have.

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Comic Art, Comics, Conventions

San Diego post #2 – Getting to SDCC

This is one of the best-known words of advice about Comicon, especially comic art collectors: Preview Night is where the action happens. Allow me to explain: The con officially begins on Thursday morning at 9 AM. It ends on Sunday at 5 PM. Preview night is on Wednesday evening, when the convention floor opens up for a few hours just so that you can look around for the good stuff before the crowds hit. Some of my friends take it a step higher and head inside the convention center (using Exhibitor badges) around noon on Saturday. I did that in 2011, too. That’s when you have random brain-freezes when you see Robert Kirkman walking around, or Dave Gibbons passing by.

(However, the best Retail deals happen in the last few hours of Sunday, when booths, eager to load as less inventory back to their trucks as possible, go for insane discounts. There’s a tip right there for you.)

This year, I was eager to get in early on preview night, mostly to check out Adam Hughes and Mike Mignola’s booths. They bring original art to the show at very decent prices, and which is plucked clean in the first few hours.

However.

Tuesday evening, I find out that my rear left tire is running low. This after I had filled it up 2 days ago. I headed over to the service center and asked them to look at it, plus there were some other small things wrong with the dashboard console. Wednesday morning, they call me to say that my tires need to be replace – the front tires, because there was an air bubble. Damnation and hellfire. I was supposed to leave at 10 AM, so that I could get to the convention by 1 PM. It was 2 by the time I got the car back, and by the time I navigated through bumper-to-bumper traffic on 5 South to Downtown San Diego, it was 6 PM. But to balance this cosmic injustice, I got a free parking spot opposite the convention center – the chances of that happening are astronomically low and everybody I met told me the exact same thing.

By the time I got inside, Mignola and Hughes were picked clean. There was a single Hellboy in Hell page remaining and I thought it wasn’t good enough for the price. Adam Hughes had a Fables Encyclopaedia cover for $8000, and a few Fairest covers that made my heart stop. I spent thirty minutes hanging out and talking with art dealer Scott Eder and the various people who flocked to his booth, old collectors I knew by name, others I had met before. I was in “view” mode, Scott and I have a deal for something major and I could not afford to jump in with something else. Then I walked over to some other booths. A James Jean Fables cover sold in front of my eyes, one of two that a consigner had brought for sale the minute before it sold, for a little less than a quarter of my annual salary. Two pages from Frank Miller’s 300 – those were the only pages from that series that had ever been available on the market – had sold an hour ago. There was the Robert McGinnis painted cover from Stephen King’s Joyland, and a Charles Addams unpublished cartoon, a few Kelley Jones Sandman pages that made my toes curl. One dealer, remembering how I had asked for a good Spirit page a few days ago, pointed me to an excellent example of a 1940s strip that had P’Gell in it. Since $8000 was a little too much for my immediate budget, I bid it a fond farewell.

There was, on one gallery wall, the greatest Prince Valiant strip I remember seeing, with Val and his wife Aletha in all panels, and one in which Val spanked Aletha on his lap. Already sold for $15,000 and a little of my tears. A Preacher page with the Saint of Killers, the cover to Bruce Timm’s Naughty And Nice pocket book, one of the best Dave Johnson 100 Bullets covers, featuring Dizzy. San Diego, on preview night, had me feel like Aladdin inside the cave for the first time, except of course, there was no lamp, because this ain’t no stinkin’ fairytale. The surprise of the evening was realizing that Juanjo Guarnido’s commission list was not full yet, and after a few minutes of vacillating, I decided to go for a full-figure drawing of Alma. I love Blacksad, and getting a piece of artwork from Guarnido without having to pay through my nose appealed to me.

A bunch of us met for our annual Secret Art List dinner, where we talked comics, art and the films of Julie Delpy. I found out that a collector lived a few miles away from my place, and we promised to get together. I put plans in place for a Miller Daredevil page, and probably another Sandman page, but obviously, time will tell.

That was the first day. I slept happy, and very very tired.

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Conventions, Manga

San Diego post #1

(first in a series of posts about the SDCC experience this year, with random digressions)

Did not attend too many panels at San Diego this year, except for two back to back on Saturday evening. One with Jeff Smith and Terry Moore talking about comics and the indie scene in the 90s. It started slow, when both creators made jokes about not really understanding the point of the panel, but once it got going, there were great anecdotes about jumping into the comics business, how the comics market changed over the last few decades, and great memories of previous conventions.

And this is when my camera died.

And this is when my camera batterydied.

The second panel I attended was a Best of/Worst of Manga 2013, where some of my favorite manga correspondents talked about series they liked and disliked. (It was great to be able to put faces to familiar names, like Shaennon Gaerrity, David Brothers, Brigid Alverson and Chris Butcher, and saying hello to Deb Aoki) Knew (and cheered) most of the series mentioned, and made note of the ones I did not. Funny moments included Attack on Titan and Heart of Thomas appearing in both “Best of” and “Worst of” sections. Deb made a compelling case for why Attack works and does not. Brigid was unafraid to knock on Moto Hagio a bit, even as Shannon vehemently disagreed. Much fun. You can read details here.

When the panel ended, I asked some of the panelists a question that had been bothering me the last day. Aditya Gadre had asked me on Twitter about what  title he should start reading if he wants to get into manga. My standard response to that is to figure out what kind of books and movies the person likes, instead of thrusting whatever is the core “best-of” list. He said he was a Neil Gaiman/Alan Moore fan, which got me really worked up about suggestions. And since San Diego was on, why not go to the Recommendation Mothership?

Chris took about 5 seconds to recommend Pluto, which I had thought about but dismissed because I felt it was kind of like giving Watchmen to someone who has not read superheroes. A lot of the charm of Watchmen comes from recognizing how Moore subverts familiar superhero tropes, and similarly, you enjoy the beats in Pluto much more if you have a working knowledge of the original Astro Boy stories on which it was based, and a decent knowledge of the characters in that universe. I stopped reading Pluto myself around volume 2, made sure I reread ‘The Greatest Robot on Earth’, and enjoyed the story much much more. But Naoki Urasawa is a fantastic writer/artist, and Pluto is really one of those series that is a perfect combination of art and story, without any of the manga tropes that pisses off non-manga readers.

Pluto

It’s more fun when you know who the kid is

Deb took some time to come up with two choices – Black Lagoon, which I agreed with but was a little skeptical about the bad-girl violence, and Dorohedoro, which I heartily agreed with. Black Lagoon is about a band of mercenaries called the Lagoon company, operating somewhere in South-East Asia. The story begins with them kidnapping a young Japanese salaryman who ends up joining them, and the series is an excellent mixture of no-holds-barred, stylish action mixed with moments of quiet contemplation about the nature of crime, killing and existence. Dorohedoro is a series I read a few months ago, about a man with a reptile head who fights wizards from another dimension, and this has to be the most underwhelming explanation of one of the most fascinating manga I have read in recent times. It has laugh-out-loud humor and strange secrets-behind-secrets, even as Q Hayashida, the lady who writes and draws this series, slowly draws back the curtains on both the wizard and human worlds. It is also a series where you would be hard-pressed to take sides.

Two of the bad-ass ladies of Black Lagoon

Two of the bad-ass ladies of Black Lagoon

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The zany cast of Dorohedoro

 

Brigid suggested Kurosagi Corpse Delivery Service (to which Deb and I both agreed). It’s about a bunch of graduates who start their business – of talking to the recently-dead and carrying out their last wishes. Each of them has a special power, like talking to the dead, or embalming, or mad computer skills. Which sounds kind of cliche, I know, but it is very very entertaining and also really creepy at times.

The_Kurosagi_Corpse_Delivery_Service

I love the cover design for the series.

The only problem with all these titles mentioned above (except Pluto) is that they are all ongoing series. Lagoon has been on hiatus for sometime, Dorohedoro is seeing steady publication, while Kurosagi is published once a year.

Other books that I thought of, which are a little more stand-alone:

Domu by Katsuhiro Otomo. Best-known for the phenomenal Akira, this was the horror-fantasy title that got Otomo noticed. A creepy story about a telekinetic showdown between an old man and a young girl in an apartment complex.

Death Note. 11 volumes. One of the most well-known manga out there, and is delightfully over-the-top sometimes and yet so compelling.

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Myself

The Curated Posts Post

Apparently I crossed 700 posts on the blog. (This one is post #712) Which averages to about 70 posts a year, which does not make me happy at all. Especially since last year, I thought about getting to 200 posts in 365 days. I have no idea how that will pan out, unless I write multiple posts on the same day.

I sometimes go and look at my early posts, and see someone who has changed so much. Everything from how I think to how I write. How much I reveal online to the topics I write about. There was a point where I was chronicling my days in serious detail, naming names, others when I openly lusted over things that seem ….inconsequential now. But obviously they are inconsequential because I have experienced them, and the journey no longer matters once you’ve reached the destination. Which makes me sort of an ass-hat, but I can live with that.

Obviously, most of these 711 posts are completely irrelevant to anyone but myself. Unless you want a peek at the Indian pop-culture scene before broadband, Flipkart and Wikipedia took over, but why would you want that? Why click through 711 posts when I can curate you through the Ones That Matter? Well, fine, the ones that I can still parade in front of the world without totally dying of embarrassment. A humble best-of, from the worst-updated blog ever.

On music piracy. Definitely one of the most earnest posts I have written, with an eye to form and structure. I don’t usually do that.

A Love Polygon With Diagonals. Yes, it really happened. Some of the people involved are even on Facebook! I am not dead yet! Whee!

Watching Veerana in a movie theater. I was trying too hard to be funny. The style makes me cringe, especially the way I mangle Hindi and English here and there. But it was a fun night, and Vasu was the most excellent companion one could have, to watch a film like Veerana. Also, I like the term “WAH!” a lot. I did a lot of movie “reviews” back then, when it was still fashionable to shit your opinions without getting paid to do so. Here’s Dil Se. Here’s Kisna. Here’s me about DVDs when VCDs were still in vogue. But of course you punk kids wouldn’t know what VCDs are. About watching Ju-On 1 and 2 back-to-back. I used to rub my hands in anguish whenever a bad movie adaptation came out, like V For Vendetta.

About visiting Assam after a year. This was LJ-peak, when everything you did was a potential blog entry, and I can actually picture myself thinking about something funny to write, something that would get a lot of comments. BWAHAHA! If Twitter existed back then, this would be a series of tweets, obviously.

The preliminary questions to the first Nihilanth quiz I conducted. I put a mind-boggling amount of work into it (the quiz, not the blog post), and it was very gratifying to see that people liked it a lot, and it also kick-started my quizzing career, which was fun when it lasted. I have three protected posts about the Nihilanth experience, maybe I should open them up.

talked a lot about AR Rahmandidn’t I? And comics. I tried to introduce people to the wonders of Lone Wolf and Cub. And Swamp Thing.

I tried too hard to be funny, sometimes. I like this just for the build-up, but it’s not as good as I thought it was, back then. This makes me grin, but barely. And I wrote about the weirdest things, like my experience while buying a book.

And there are some posts that are funny on a different level. Like me in 2003, talking about the virtues of eBooks. Or being all riled up about bad movie adaptations. (Obviously, I had not read William Goldman then) Getting very pumped after reading Batman:Hush the first time. (It makes me hurl now) And then there is the very cryptic post about the day I lost my virginity. Nope, no link for you, thanks.

The weirdness. I have no idea what I was on when writing this. Or that. Someone told me that the latter was used as the text in an elocution competition. Prizes were involved. I was happy.

In 2009, I moved to this domain. I began by writing two vanity-posts-to-end-all-vanity-posts. A hundred things about myself, in two parts. Four years later, I realize I have to write an updated version of this, because things have changed. Oh yes, they have.

The Livejournal does not exist anymore. But 10 years of (a part of) my life does, in this uncategorized, untagged and disoriented fashion.

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