Deb Aoki Profile picture
27 Jul, 17 tweets, 7 min read
The really weird thing about the secondary / collector's market for out-of-print manga is that comic shops (the #1 place to find that hard-to-find stray volume) seem largely unaware of their rarity or value if they have them. If it ain't listed in the Overstreet Guide, maybe?
the other fascinating difference between the collector's market for manga vs. the comics market is that manga collectors aren't as hell-bent on getting something in 'mint condition' - they just want it in decent, readable condition for a (semi-)reasonable price.
another key difference between manga & comics collectors: manga collectors don't seem to care much about special editions / variant cover versions. There are maybe a handful of B&N or Diamond exclusive variants but they don't generate special interest as "collectibles"
The difference in mindset between comics collectors and manga readers, who think of their books (as enjoyable content that they want to keep to read again and again) vs. "investments" or "collectibles" isn't remarked upon very often.
i get why manga readers find little comfort in hearing that a series that was left incomplete in print gets finished with the latter volumes as digital-only releases. You want that COMPLETE ON MY BOOKSHELF FEELING. I buy the digital releases anyway, but it's still a bummer.
There's no standard pricing for out-of-print manga. It's whatever price someone thinks they can get away with posting on Amazon/eBay, but that's not a reflection of what something is really worth. Even a Monkey Can Make Manga can be listed at $877, but would anyone pay that? 😛 Image
One thing I miss about going to Japan and buying used manga is that you can sometimes buy a whole set as a big wrapped up BRICK O' MANGA for one price. One day, I'll cough up the ¥¥ to buy Candy Candy. Image
One little treasure i found in a used bookstore in Japan was this hardcover, slipcased edition of Fire! by Hideko Mizuno. i got for about $25. I opened it up, and it was autographed 🤩 ImageImageImage
in general, I don't think most people buy manga thinking it's going to appreciate in value someday -- that only matters if you're going to resell it & even then, find a buyer who'll pay a premium for it. we buy it because we're terrified it'll go out of print & we'll be SoL 😅
So here's the good thing / bad thing about there being no standard pricing guide for out of print manga in English: it's pretty much the wild west out there. bargains can be found but so can price gougers. whenever possible, don't feed the gougers.
most times, the rarest volume of manga in a series isn't the first volume (a.k.a. #1), but the latter volumes, when sales have tapered off, and publishers print fewer copies. Lesson for readers: don't snooze on later volumes of a series you like. they might be hard to find later
if you're sitting on some rare/out-of-print manga, maybe don't wait too long to sell it. The old Tokyopop Sailor Moon manga volumes were once very pricey collectibles. Now that the series is readily available fr. @KodanshaManga, TP's editions don't get the same $$$ in resale ImageImage
Another tip to prevent "i can't find that manga" heartbreak: if it's a title from a smaller publisher OR it's a niche/art-y/quirky manga or a long series, BUY EACH VOLUME WHEN IT COMES OUT. It may never get reprinted or it may be a very low priority for a reprint later
General rule of thumb: if it was published by CMX Manga, ADV, Blast Books, Bandai, Raijin, Aurora / Deux, VIZ's Pulp or IKKI imprints, or TokyoPop pre-2010, it is probably hella-out of print and hard to find. Same goes for some Picturebox and Vertical titles. ImageImageImageImage
however! major caveat here: not every manga that's old and out of print is worth much money in resale. some manga are found in the $1 bin at a comic shop because they were part of the early 2000's great manga market dump of sub-par/mediocre manga, and boy, there was a lot of that
Other older / discontinued manga publishers or imprints include Go Comi, Broccoli Books, DramaQueen, Del Rey Manga (some titles transitioned to Kodansha, some series completed as digital-only volumes). ImageImageImageImage
here's the other part people don't want to talk about: digital manga has 0 zip nada resell value. if you read it and don't want to keep it, there's no way give it away or resell it to make a little $ back. This might be a small part of why the 'wai no print?' howls are so loud. Image

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More from @debaoki

25 Jul
This year's edition of the Manga Publishing Industry Roundtable for @Comic_Con @ Home is now live: bit.ly/MangaBiz2021 - See how @yenpress @SquareEnixBooks @VIZMedia @KodanshaManga & @denpa_books see where things are at now & where they're going next Image
One interesting part of the Comic-Con @ Home Manga Publisher Roundtable conversation about why long series (like Hajime no Ippo) can be extra challenging to license for publication in English bit.ly/MangaBiz2021 Image
Another topic that come up in the Manga Publishing Roundtable is the recent explosion of popularity for BL and LGBTQ+ content in manga. bit.ly/MangaBiz2021 ImageImageImage
Read 18 tweets
17 Mar
ICYMI - Episode 5 of @mangasplaining is up! This week, we look at What the Font?! A Guide to Western Typefaces by Kuniichi Ashiya fr. @gomanga mangasplaining.com/blog/episode-5…
What the Font?! is kind of part manga, part art history / design book, as it gives faces and personalities to popular typefaces, like Helvetica, Bodoni, Franklin Gothic and yes, even Comic Sans. mangasplaining.com/blog/episode-5…
The format of What the Font?! is a series of 4-panel comic strips that have the fonts tell a newbie designer about their history, how they're used as logos for familiar brands and their quirks. Even if you went to art school, What the Font?! has some interesting tidbits to share.
Read 7 tweets
16 Mar
I started reading Blue Lock, the new soccer manga by Muneyuki Kaneshiro & Yusuke Nomura fr. @KodanshaManga and some aspects of the character designs remind me of Tite Kubo (Bleach) & Wataru Watanabe (Yowamushi Pedal) kodansha.us/series/blue-lo…
Blue Lock starts off as a basic sports manga, with scenes at a high school playoff, but within a few chapters, things take a darker turn... kinda like Prison School or Battle Royale. Your first hint of this is seeing the sketch of the cover on the title page. What's on his neck?
In a lot of sports manga, and heck, a lot of soccer manga, there's an emphasis on teamwork. Blue Lock turns that on its head by trying to push its players to be "egoists" like world's soccer legends (e.g. Pele, Messi) kodansha.us/series/blue-lo…
Read 4 tweets
3 Jul 19
At #ProjectAnime19 listening to @dallasmiddaugh ‘s presentation on the manga publishing trends in n.america #AX2019
Here’s @dallasmiddaugh ‘s chart showing the sales growth of manga since 2002. Manga enjoyed “geometric growth” until 2007. Recovery only began again in 2013, partly thanks to Attack on Titan manga/anime
“In 2013, the US economy improved + Attack on Titan anime aired, and this created a rising tide that helped rise all other boats/the general manga publishing biz.” - D. Middaugh @ #ProjectAnime19
Read 37 tweets
2 Jul 19
Onward to the next panel at #ProjectAnime19: “Adopting Japanese Properties for a Global Audience” w/ Maya Kambe fr. Paramount, Tony Ishizuka, VP Int’l Productions - Sony PIctures, & David Uslan fr. Uslan Entertainment.
As far as western adaptations of JP anime/manga content, “no one has cracked the code. But it also depends on your expectations. If you’re expecting a James Cameron-sized blockbuster, that’s a different challenge than if you’re going for smaller production.” - Tony Ishizuka
“It comes down to story & character. I’ve seen an increase in stories that have more universal appeal — that work locally and can be enjoyed globally. Eventually, we’ll see more content that will check all the boxes for global audiences” - David Uslan #ProjectAnime19
Read 15 tweets
2 Jul 19
Dallas Middaugh @dallasmiddaugh ‘s opening remarks at Project Anime in LA described anime & manga as “going through a period of radical change” - as overseas interest & availability of content from Japan has grown + increased investment fr. overseas #ProjectAnime19 #AX2019
“When I started in this biz, JP rights holders weren’t interested in markets outside of Japan - at most, int’l licensing was only 5-15% of their revenue. To them it was like sofa change.” -@dallasmiddaugh #ProjectAnime #AX2019
“In 2015, I moved to manga publishing to anime. I was used to US book publishing, where bks usually need 1-2 years in advance for licensing, marketing, production/translation. When I moved to @Crunchyroll, we were lucky if JP anime production companies gave us a week lead time.”
Read 17 tweets

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