Jump+ is the future, rookies are gonna try to serialize here instead of wsj since its way laxer with publishing schedules (the author of kaiju8 has been doing 3 chapters and a break since tnear the start, no newbie in jump would get this kind of allowance.
Also with everything moving online and away from physical, people have easier access to j+ series than even wsj series unless they pay for jumps digital subscription
Its not a surprise that sxf and k8 have had better volume 1 first week sales than any jump series in years
Tbh good series like Summertime Rendering and Jigokuraku are doing OK and aren't exploding with sales. I'm not sure too many newbies will increase quality, but it's probably going to be interesting and less formulaic.
Cameron Baker
I don't know how much print's marketshare is shrinking in Japan VS the rest of the world, but it seems to me like digital comics are a good place to be unless you're hung up on becoming the next Oda or whoever
Also, why is it that regular old full page B&W comics in a digital format are still so much better than web-toons or other stuff that tries to format itself to webpage design? Is it just because the latter is still so early in it's ethos? I've been reading web comics since the late 90s and I think maybe 1 in every 100 actually makes good use of the format VS just doing a regular ass jpeg of a page
>rookies are gonna try to serialize here instead of wsj Since it's inception 6 (?) years ago it's been tied to Rookie Jump where anyone can post there shit. Recently they said 150 mangaka have come from there to somewhere else in Shueisha. It's not about "now" conceptually it's always been trying to give rookies a chance
Recently they've started an "indie serialization" event in Rookie Jump, where the top 3 will get serialized in Jump+ with no editorial oversight (I mean I doubt you could go full Zig Forums or publish Two Piece but still).
They are also doing the opposite and telling anyone who has been published anywhere before, even if it was rejected, to send in their manuscripts and give it a go
Jack Smith
>Also, why is it that regular old full page B&W comics in a digital format are still so much better than web-toons or other stuff that tries to format itself to webpage design? In manga's case I think it's just a matter of having the comic culture there to begin with. Jump+ is well aware of WEBTOON and it's popularity and tries not-so-successfully to compete with some webcomic types.
Either way I see a massive shift is going to happen, whether it accelerates the collapse of physical magazine or causes it, I don't know, but getting digital right is going to be very important and Shueisha is in a better position than most. (I think they should consolidate Jump+, Tonari no YJ and MangaMee but whatever)
Liam Torres
Because print media is subject to scarcity and so actually has some editorial standards.
Jason Peterson
>rookies are gonna try to serialize here instead of wsj since its way laxer with publishing schedules Not anymore. Apparently, Shonen Jump+ App has started a new campaign to recruit professional mangaka, asking for names and manuscripts until January 31st. They want any "ambitious works or even names rejected by other magazines", any work from mangaka that has already published content. twitter.com/comic_natalie/status/1338499009451675648
They are really trying to step up their game, it seems like. Who do you see among the veterans returning to this platform and trying their luck for the first time? Someone you would personally like to see again? There are many good mangaka out there hat haven't been in the industry for a longer period of time.
Damn, so they have two [separate] campaigns running at the same time? They finally realized that we live in a digital world and this could become the next huge thing
Bentley Jones
>Also, why is it that regular old full page B&W comics in a digital format are still so much better than web-toons or other stuff that tries to format itself to webpage design? I was thinking about this too. I've known about webcomics since the 2000s and read a few but they almost all have something off about them. I think with manga >there's editorial standards, so there's a base amount of quality that you can be certain of >art is made with the intention of being printed, so it is made easier to read >manga format is the easiest and most efficient way to read comics; it has the best panel flow
Leo Reyes
I'm a newfag to J+, so I would appreciate it if somebody could fill me up on the general release schedule. Like, why is that that certain artists have different schedules from one another? Who decides that? The artist himself or the higher ups?
Julian Gonzalez
Yes, they are also running two more, one for series that take place in school/club activities etc. The other for Ubisoft-related series like the Marvel event they had last year. (We now have a Deadpool manga thanks to that)
Pretty much decided by the mangaka. The editors seem keen to push for weeklies because the momentum helps it be more successful but SxF proves it is not necessary. I have a theory that many of mangaka of the, call it obscure or lesser known series, are running without assistants so it's easier to just publish every other week without the financial risk of hiring people.
Charles Martinez
>Jump+ is the future the future of mainstream shit, maybe nothing actually good comes out of jump
Robert Johnson
I appreciate your post, thanks. This honestly seems such a good deal for the artists, especially for rookies and those whou have already had experience with a weekly schedule. But then again, I'm wondering how they handle things like PR and promo for all the series when everyone can just their own schedule. Like, what do they prioritize
Gabriel Davis
Kaiju 8 mangaka isn't a newbie
Caleb Martinez
the point with kaiju8 is that it has better sales for a V1 than any other jump series in a loong time
Levi Long
So what's the key difference between Jump+ and regular WSJ anyways besides that one is a digital platform and the other prints magazines? Both of them still print tanks for their respective series
Charles Bailey
Not all J+ series get tanks. WSJ series get tanks even if they break the axe speed run record. WSJ has higher editorial standards and a stricter serialization schedule.
>WSJ series get tanks even if they break the axe speed run record That's a plus, I guess >WSJ has higher editorial standards and a stricter serialization schedule. I fail to see how artist would benefit from that
Owen Campbell
>its way laxer with publishing schedules I hate it when I think I'll get a Jigokuraku chapter and we only get an illustration. I get it for that, since its a break from the weekly schedule, but for other stuff like SxF or Kaiju No.8 I just find it so weird. Do they not have assistants? I thought Fire Punch's assistant is now Jigokuraku's author so they clearly do.
Hunter Howard
Like? Roboco, Moriking, Mitama, Magu or any of the rookies don't count since those don't come from an author with prior experience. Same for SxF, famously written by someone whose gotten the axe many a time.
Anthony Russell
>V1 What does that mean? First Tank?
Nolan Collins
Can you get axed in Jump+? What happens if your series gets almost zero sales and attention?
Robert Rivera
>Can you get axed in Jump+? Yes. East into the Night got axed for poor sales, but bare in mind expectations were low and it was a full colour series. Many series end in 3-5 volumes, but it often feels more organic, probably because they don't expect it to last long to begin with >What happens if your series gets almost zero sales and attention? Sales are lowish anyway but the in app currency and ad revenue seem to do the job
Camden Bell
How many series do they run at the same time? WSJ only has like 15-20 series at a time, how is it with Jump+? Feel like they have way more series
Nathaniel Wilson
60ish. It's hard to tell because many end/begin, they always publish oneshots and they also republish classic manga. Also there is stuff published in parallel like Oshi no Ko which is a Young Jump manga or WEH Fantasia which is in Ultra Jump
Xavier Myers
Not really. Pretty competent first arc but the mangaka is blowing it badly.
Roboco and Mitama are not rookies, they have previous work in Jump+, just like Tsutui and Fujimoto
Gabriel Long
I forgot Moriking isn't from a rookie either since Spring Weapon 1 is a thing
Jacob Ortiz
So, still way more chill than WSJ. >Sales are lowish anyway but the in app currency and ad revenue seem to do the job Is this and obviously buying the tanks the only option I have to support the author? What about gaijins like us, can we also purchase the app currency and buy shit?
Isaac White
If it's on Mangaplus read it there for sure. I would buy the tanks over buying chapters in app.
Chase Wood
Alright, thanks for answering user. Feel like Jump+ is gonna become huge in the future
Jace Evans
The same SQ that rejected Fire Punch twice
Tyler Jackson
>I fail to see how artist would benefit from that They wouldn't. But the post I responded to didn't ask which was better for the mangaka, only what the differences were. Readers benefit from increased quality and consistency though.
Henry Richardson
Older print styles allow for emphasis through panel arrangement, size, and flow. If you're doing a webtoon that's just straight down scrolling (because smartphones), then there will be limitations in conveying how a scene moves. It's analogous to sentence structure and length in prose; if every sentence has roughly the same length, then reading it becomes monotonous. If you're comparing to real-life visual media, then it'd be how the camera moves, and the scenes are set -- like how daytime dramas look different to a movie.
Christian Powell
>sxf and k8 have had better volume 1 first week sales than any jump series in years How many duds do they have, for each success? And how long does it take for V1 to come out after serialization starts for new Jump+ series compared to WSJ series? Digital absolutely has its benefits, but the laxer schedules also means slower releases. If a series aren't popular from the start, the inconsistency doesn't lend well to build up a following compared to something you know is coming weekly.
