But look at the brighter side: throughout of many doujin commentaries/afterwords I've seen a whinning of a many about "deadlines"... Consider this time as "Deadline push" to get the shit together/refine on a rougher edges.
But look at the brighter side: throughout of many doujin commentaries/afterwords I've seen a whinning of a many about "deadlines"... Consider this time as "Deadline push" to get the shit together/refine on a rougher edges.
Not too sure if that's a good thing when it comes to the artist's income though.
But look at the brighter side: throughout of many doujin commentaries/afterwords I've seen a whinning of a many about "deadlines"... Consider this time as "Deadline push" to get the shit together/refine on a rougher edges.
That might be used as more of a joke and because of procrastination. Most doujin that go through that is because it is tend to done during times like Summer break (since alot of the artist are students, etc.)
Also, it’s not like you can refine it much anymore once you screen tone and ink the thing, least you want to restart from the beginning.
That might be used as more of a joke and because of procrastination. Most doujin that go through that is because it is tend to done during times like Summer break (since alot of the artist are students, etc.)
Also, it’s not like you can refine it much anymore once you screen tone and ink the thing, least you want to restart from the beginning.
Plenty of artist do digital though? In fact, I would think most artist that value their time and long term income would do that at this point. There are plenty of programs that can be ahem "acquired" that can pretty much perfectly simulate the setup of a inked work if you desire it to look like that.
Not saying everyone has saved up for the work tools required but lot of those that are serious for this would have saved up money for such things.
Not too sure if that's a good thing when it comes to the artist's income though.
Is that con really that much of the artist's income though? I would think the vast majority of their income is mostly based on commissions and contracted work, with cons more just to interact with diehard fans willing to find them.
Is that con really that much of the artist's income though? I would think the vast majority of their income is mostly based on commissions and contracted work, with cons more just to interact with diehard fans willing to find them.
Commissions still aren't really a big thing in Japan and there's only so much contracted work to go around, so a lot of the doujin artists do it on the side to their main job of something (possibly unrelated to art), deadlines and all. There are some few who actually do make a living off of doujin work (this may or may not include gifts).
Almost all the ones who actually make decent cash of doujins are either massive names, or do hentai. Cosplayers actually rake in the biggest amount at Comiket, as they can get away with charging more money for the books than doujins ever can. (the price of a doujin is still expected to be 500 yen, even with changes in printing costs).
The real money for artists these days is on patreon and patreon-equivalent sites.
Oh, I might as well post this here since it's relevant, but we should be worried about convention organizers, book printers, and merch producers. Comiket is asking people to buy the catalogs to support future conventions, and they had already printed the catalogs at cost before the decision. Japanese participants aren't asking for refunds out of support.
Oh, I might as well post this here since it's relevant, but we should be worried about convention organizers, book printers, and merch producers. Comiket is asking people to buy the catalogs to support future conventions, and they had already printed the catalogs at cost before the decision. Japanese participants aren't asking for refunds out of support.
Is there any reason Comiket couldn't make an online store? Frankly I never understood why artists would make a lot of their works convention only items, especially if they have surplus leftover after the con.
Doujin (off existing properties) are prima facie illegal, they're just under a category of law in Japan that only makes them actual crimes if the copyright holder brings a claim against them. As such, especially with hentai doujinshi, they don't want to go too far.
However, in recent years, there's less and less doujinshi that you can't just get from Melonbooks, Toranoana or even the various download sites. Most big circles already have stock at the consignment stores, even on the day of Comiket (or before!), and will have signs out after they sell out to tell you that which of the stores you can pick it up from later - some circles also have an agreement to pass off any unsold stock to a store for later sale. Really, from experience, a very large proportion of non-ero doujin are readily avaliable from the stores, and a good amount of the ero ones also. Once they're sold out on the stores though, the chance of a reprint depends entirely on the artist making more, a lot never get a second run - though sometimes they make collected books (and often these are A5 rather than B5 sized)
Comiket itself has no desire to make an actual store, as that goes against their guiding principle of making a space for artist and readers to meet.
and also hentai doujins is in its own lie in a teethering red area depending on country so importations are not an option, which really sucks honestly I hope Comitia if not sunshine creations which happens mid autumn picks up the slack and HOPEFULLY this pandemic comes to a bit of pass.
for now if you have the cash which I assume most wont for now try to hit up their pawoo skeb, pixivfanbox, patreon for pitching in