Why dont well-off authors just go indie? Regardless of whether or not they'll make a "good" or "bad" story...

Why dont well-off authors just go indie? Regardless of whether or not they'll make a "good" or "bad" story, having your ability to tell stories regulated by polls and money seems unappealing, especially if you're set for life

Attached: 81-xoMbt4-L.jpg (1400x2100, 393.05K)

Because Capitalism.

Inoue moved away from WSJ after Slam Dunk so he could work at his own pace. His two other series are extremely successful.

Japs are loyal to their companies, it's unusual to switch unless there is a disagreement

Did he end up going to a smaller mag that gave him carte-blanche? I know he just makes chapters whenever he wants, so im assuming he doesn't have a lot of micro-managers breathing over his neck

Because Japs still don't read web shit as much as they do manga, it's harder for an author to produce merchandise where 99% of the money is actually made, and many people won't touch your stuff specifically because it's indie the same way some people won't touch anything that's not disney/capeshit.

On top of that, it's hard to afford your own assistants and materials and the job makes little money as-is.

Must have done. He took a couple long hiatuses on REAL and Vagabond, but nothing happened to his series. Smaller magazines are usually more forgiving since most series don't go beyond a couple volumes. Vagabond is at 37 and REAL close to 15.

How do you even go indie? Self print and sell your stuff on comiket to 2.5 random people?
Publication in a big magazine gives you visibility. If his manga wasn't popular in wsj it wouldn't be popular elsewhere.

Kishi needs good editor

REAL is published in Weekly Young Jump, the seinen equivalent of WSJ. Vagabond is in Kodansha's Weekly Morning

These are both as mainstream as it gets.

You can't truly go indie. The infrastructure is all conglomerate owned. You can sign with friendly magazines though, and they don't breath down necks.

I'd guess make it largely web-based w/ patreon and just print on demand
>If his manga wasn't popular in wsj it wouldn't be popular elsewhere
I mean...does it need to be popular? He's already achieved what most other artists wont. If you make a blockbuster on that level then do all of your other leftover ideas need to be just as big?

Vagabond ran in a small seinen mag by kodansha IIRC, but real is in young jump. But those were some incredible series that the readers loved and were/are willing to sit through hiatuses to read, no one gave a fuck about S8 even on a weekly schedule let alone if it had an irregular schedule.

Kishimoto was also going to go to a smaller magazine IIRC but got asked to return to WSJ and accepted. He probably could've struck a better deal than what he got though (although I don't think WSJ is going to give anyone a togashi type of deal again to anyone no matter how low they get at this point).

Even them have limit. You can't tell the magazine that people will like your story "eventually" or "it just not reach the good part yet" forever.

>Why don't well-off authors just go indie?

Because they enjoy their series being successful.

>Kishimoto was also going to go to a smaller magazine IIRC but got asked to return to WSJ
I wonder if this would've factored into his decision to not draw S8. Maybe a smaller mag would've given him enough breathing room to draw at a healthier pace

It's natural for an author to promote his work as much as he can.

its again a gayjin who think America is the number 1 manga /anime market

of course, its just the image of some millionaire having a story idea, set of characters, themes, etc be shut-down and going "huh, it cant be helped" is a weird one

they dont want to make only doujinshi

Twitter manga is all the rage though and can land you a serialization deal.

*Samurai 8 needs an anime
ftfy

beside One i dont see others having a big success with it

Twitter manga doesn't pump out enough money in merchandise to afford retirement.

Why would he? After you made that magazine money for 15 years, made yourself rich through it and know many of the parties involve in that company, why would you jump ship if you don't want to? Apparently he was asked to come back to Jump so he wasn't against it in the first place. Besides if anything, editors are good for Kishimoto and his manga if his past interviews about Naruto are anything to go by.

That croc meme one seems to be making bank (and a lot of bandwagoners)

No, it's just popular and getting knock-offs. Do you think they get paid for people copying it? You don't get paid $80k a year for likes.

>go indie on twitter so you can get a deal to stop being indie
That sounds retarded.

It shows up in the top 50 salesfag charts and that's with Kimetsu hoarding 20 slots or something.

It really doesn't? A lot of kickstarter vidya have the end goal of attracting a publisher or a studio buyout but they won't say it out loud.

>japan, one of the most advanced countries in technologies
>culturally unable to support web works even if the authors are famous
Why? I mean, here we support a millions of works made by little men, why japan can't do the same with people who already have a big name? Even if their work sucks they would go well like Mighty Number 9 or Cans without labels

>ci-en
>fantia
>fanbox
>enty
They're even more obsessed with the patreon model than the west.

Maybe, just maybe we shouldn't blindly support people just base on names and his/her past achievements

I've never seen anything about the actual deal Togashi got from WSJ. Do we know anything?

Where in the fuck did you retards get the idea that failing series get an anime in fucking WSJ? S8 got all the push they could give it and it couldn't make it, deal with it kishitards.

So authors don't go to the internet because they are dumb? That's even worse.

We know Togashi has full ownership of the HxH manga. You can see it in viz's copyright page where HxH is the only series that doesn't have Author/Shueisha but only has Togashi.

So it was basically like what happened to Star Wars merchandise right.

Maybe he got really salty and confused about not being appreciated by public. Last chapters felt like that.

Togashi can be a lazy ass motherfucker, but at least he was not a moron and negotiated a good contract.

it was thanks to her sailor wife

She couldn't do it for her own manga thought. Sad, her ideas that were blocked by her editor sounded kinda of fun.

I don't really know what the deal with that is but if it sounds similar to what I described sure.

He was also helped by the time since the magazine had just lost stuff like DB and Slam dunk which were its two biggest hits period and they wanted something big, and Togashi was a very successful author prior. It probably got way harder to do something like that after what happened, I can only see maybe Gotouge striking something like that at this point (and Oda ofc but I doubt he'll make another series after OP is done).

ntr lesbian?

>I can only see maybe Gotouge striking something like that at this point
imagine what kind of deal she can makes, maybe release 1 chapter a year unlike Togashi