Show #034 Direct Download: 
OP: Buck Rogers (1979)
ED: South Park’s Buck Rogers parody
Special Note: At the end of this episode you’ll notice that the sound quality is suddenly horrible and distorted. I don’t know what happened, but we kept talking for another 20 minutes unaware of it, and I don’t know how to fix it, so I’m making the rest of the audio available as an Extra/Omake download not available in the feed. I didn’t edit it because it sounds so horrible, but there is some informational content. Noah and I might re-record it later, or figure out how to fix it.
Show #034 Omake Indirect Download: right here. (I didn’t want to include it in the feed.)
– Erin doesn’t mean ‘El Dorado,’ which is the lost city of gold, but rather Desperado, the weepy faux-cowboy ballad by the Eagles
– Paprika was AWESOME it might be a Miderami “deal breaker” – as in, if you don’t like it, I don’t like you. Noah did not get to see Paprika, and he is still bitter about it.
– The Boys of Summer artist – Hiroki Otsuka lives in Brooklyn (Williamsburg) and is a giant hipster
– Picture of Williamsburg Hipster vs. Park Slope Yuppie
Q. How much do manga-ka get paid?
A. About $50 a page, plus tankoban royalities. $100 per page if you’re famous, but that page rate must be split between assistants.
Q. How much do American (superhero) comic artists get paid?
A. Scripting: $50 per page
Penciling: $100 per page
Inking: $75 per page
Flatting: $25 per page
Coloring: $50 per page
Lettering: $30 per page (some argue that this figure is too high)
These answers come from Gynocrat’s blog quoting Spubba’s livejournal. Note that these are minimum rates.
Q. How much do Tokyopop’s OEL manga artists get paid?
A. soggytoast writes: TPop’s OEL creators make in the neighborhood of $75 a page, depending who they are. That’s $15 for shading, $15 lettering, $35 for pencilling and inking. It’s really not a tremendous wage, considering who TPop is and is yet another link in their chain of controversy.
– Cerebus eventually spun into a spiral of madness and misogyny
– Screw Strangers in Paradise, Terry Moore also pisses me off with giant two-page spreads of text
– CB Cebulski
– Manga creation is like the assembly method of Saturn cars
– American comics are created like a Ford assembly line.
– Japanese artists retain the rights to their own creations
– In American, comic book companies are the rights holders
Alison’s MangaNext Plot Arc Diagrams:
Other Podcasts we talk about in this episode:
- Geek Nights
- Happy House of Hentai
- Dave and Joel’s Fast Karate for the Gentleman
- The Overnightscape
- Weekly Anime Review
- Anime World Order (well, there’s a promo for them)
– THE OLD MEN!! If you know them, please get in touch with us and get them to call us back. We’re talking about Bill Thomas and Alfred Gaus of Philadelphia, PA.
– Matt Pyson has been our guest and is on Otaku Generation a lot.
– WARP episode with Corbin
– Martin Leung, the video game pianist
– Stumpy the OG Scout gets a mention
Anime-cons.com really doesn’t list anything for New Mexico, but I found the following:
http://www.epscene.com/june.html
El Paso Anime Convention 2006 UTEP’s Anime Society will host a convention promoting Japanese Animation noon to 9:30 p.m. June 2-3, at UTEP Student Union East. There will Anime screenings on five rooms, including one with kid-safe programming. There will also be an Artist’s Alley, video and other games, panels and workshops. Admission: $7 both days ($5 for Saturday only).
There’s a SF con called Bubonicon near Albuquerque(?) They might know something about anime.
We hope the Buck Rogers theme is stuck in your head now.
Japanese artists retain the rights to their own creations
In American, comic book companies are the rights holders
Hmmmm not always. I know in that Licensors stateside have to go through publishing companies in Japan, in order to score most of their licenses. In BL it seems those who hold the rights to their works are in the minority. When Biblos went bankrupt, some of their mangaka were given their rights back to works they did not have full rights to before, and so they were free to negotiate licensing for those works on their own. I cannot speak for all of Biblos’ mangaka at the time, just the few I know of [and there instances were public record.]
In terms of American OEL/BL ‘publishers’ [I cannot speak for licensors, and mainstream OEL], it’s down to the negotiation process. Some OEL/BL publishers demand absolute rights to your work, your reward for this being a high payday when art/script are turned over, but no right in terms of licensing foreign, how the book is sold, marketed, or even collecting on future royalties, because most of the time when all rights are signed over and paid for, the creator does not get a percentage of the book. In some case, copyright is shared, a percentage-per-book [royalty] is collected, but the publisher is still involved in terms of marketing and licensing to foreign language markets.
On the flipside [and I know this side personally] you can negotiate for full rights to your work in order to shop it to foreign markets, simply by taking a reasonable advance upon delivery, and negotiating a percentage per book sold. Your publisher is given full [English Language or sometimes NA-North American] rights for a certain time period of time [3 to 5 years]. Once the book is published in English, you’re free to shop or accept offers from, foreign language publishers, and negotiate foreign leases on your own, because there is no ‘shared copyright’. Basically you just have to read and negotiate your English contract carefully. I tend to avoid anything that demands North American rights, because, this limits me in terms of selling to Spanish and French companies in Europe for a high lease; French and Spanish are special because, they can and will want to market to [Spanish] Mexico or [French] Canada. If I sell NA rights to an English publisher, then I have to bring down my asking price to Spanish or French publishers [like, down to the level of what I’d ask from a German, Polish, or Italian publisher] because, if there is a full NA rights contract in place with an English publisher, the French and Spanish companies are now limited to Europe only. See what I mean?
BTW, I’m not the norm. My niche is small, and so I can take an extremely active role in the business aspects of each book I sell to a publisher. Not all creators do this, nor are they as business savvy. 0_o. They would rather create than worry about things like this.
As for the American comic publishers, I have no clue. I don’t sell script to them :/
-Tina Anderson
Error
I know in that Licensors stateside
I know that SOME licensors stateside!
just the few I know of [and there instances were public record.]
just the few I know of [and THOSE instances were public record.]
On the flipside [and I know this side personally]
On the flipside [and I know this side personally], IN OEL/BL
*again, I cannot speak for all OEL publishers*
I tend to avoid anything that demands North American rights
I tend to avoid anything that demands EXCLUSIVE NORTH AMERICAN RIGHTS
Hipsters making manga… Heh. Fun title, very light on the baseball. Baseball is a metaphor really but then again that sport is a metaphor of a sport to begin with.
His art is great. Almost makes me want to look for his ero-manga.
TPop’s OEL creators make in the neighborhood of $75 a page, depending who they are. That’s $15 for shading, $15 lettering, $35 for pencilling and inking. It’s really not a tremendous wage, considering who TPop is and is yet another link in their chain of controversy.
Opression
Noah, break free of your shackles. Erin is holding you back. Now on the podcast is your time to shine. Let the karate guide you.
Re: Opression
I think oppression has two ‘P’s in it.
Re: Opression
Stop opressing [sic] me.
Re: Opression
Noah keeps giving me static like I have *no right* to rip on anyone else’s spelling. It’s all a bunch of bullshit if you ask me.
Re: Opression
“Opression” is just an express way — maybe even the fast karate way — to spell the word. If you’re fighting Sonny Chiba, in the extra second it would take you to insert the second “p,” you would already be dead.
-Keith, Teleport City
Ah, hipsters. . .
You’re the reason I live in Queens rather than Brooklyn.
Thanks for the plug, but you really don’t need to use the hyphen in my domain anymore. I bought AnimeCons.com (no hyphen) like a year ago. “Anime Cons dot com” rolls off the tongue easier than “Anime hyphen Cons dot com”. 😛
“…because there ARE cons in Oregon.”
Actually, there aren’t any cons in Oregon anymore. The one that was there in 2006 will move to Washington state in 2007.
…and yes, it is a big East Coast conspiracy.
….
(Arada)
Wow, thanks Erin, once again you didn’t talk about me. Jerk. You made another child cry.
XD I’m yanking your chain, no worries. Nice ep here, made me laugh when I needed one. A laugh that is.