英国莱斯特大学社会论文代写:制作负责人

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只想比较日本和北美的漫画销量?我们也可以这样做。我将2012年5月的Bookscan和2011年6月的Oricon销售报告与Masashi Kishimoto(Shueisha / VIZ Media)销售的Naruto第56卷进行了比较,该产品在北美和日本上市时销售。截至2012年5月底,VIZ Media的火影忍者第56卷(2012年5月8日在N.美国货架上发售)的年初至今销量为6,348份。在日本,集英社的火影忍者第56卷在一周内售出218,000份。来自Brian Hibbs对漫画书资源上发布的Bookscan数字的分析。来自Oricon 2009年11月至2010年11月的销售数据。将这与由多伦多的Skullkickers作家Jim Zubkavich(a.k.a. Jim Zub)提供的数字进行比较和对比,后者是由Image Comics出版的创作者拥有的漫画。 Jim不仅仅是一名作家 – 他还是Udon Entertainment的老师和制作负责人。因此,他不仅仅是抛出数字而已。 Jim Zub已经在漫画界工作了一段时间,所以当他说每月2.99美元漫画的5000个问题的销售非常好时,我倾向于相信他。当他说那2.99美元的封面价格,不到2%用于支付出版商的费用和艺术家/作家时,我对他所呈现的金融现实感到震惊。吉姆的数字让我想知道为什么有人不愿在北美画漫画,如果不是因为对损失征税。当然,有独立的,创作者拥有的漫画销售更多,许多销售方式更少。但哇,如果这是平均……(在这里插入汗水)。这些数字供您考虑,以提供一些背景信息。当然,很容易说,“它在日本有效,为什么我们不能在北美这样做呢?”好吧,也许如果我们在这里阅读和购买漫画的人数是10倍。漫画生产生态系统各个阶段的规模和商业实践的差异,从培养年轻艺术家到促进创作者拥有的原创作品的系统,再到日本书店的印刷成本和分销以及定价,都很难,如果不是有时甚至不可能的话在北美复制。

英国莱斯特大学社会论文代写:制作负责人

Just want to compare the sales of comics in Japan and North America? We can do the same. I compared the Mayscan Bookscan and the June 2011 Oricon sales report to the Naruto Vol. 56 sold by Masashi Kishimoto (Shueisha / VIZ Media), which was sold in North America and Japan. As of the end of May 2012, VIZ Media’s Naruto Vol. 56 (released on N. US shelves on May 8, 2012) has sold 6,348 copies year-to-date. In Japan, Shueisha’s 56th Naruto sold 218,000 copies in a week. From Brian Hibbs’ analysis of the Bookscan numbers published on comic book resources. Sales data from Oricon from November 2009 to November 2010. Compare and contrast this with the numbers provided by Toronto-based Skullkickers writer Jim Zubkavich (a.k.a. Jim Zub), a creator owned by Image Comics. Jim is more than just a writer – he is also the teacher and production manager of Udon Entertainment. Therefore, he is not just throwing numbers. Jim Zub has been working in the comics industry for a while, so I tend to believe him when he says sales of 5,000 questions for $2.99 ​​a month are very good. When he said that the cover price of $2.99, less than 2% was used to pay publishers’ fees and artists/writers, I was shocked by the financial reality he presented. Jim’s numbers make me wonder why some people are unwilling to draw cartoons in North America, if not because of the tax on losses. Of course, there are independent, creators own more comics, and many sell less. But wow, if this is the average… (insert sweat here). These numbers are for your consideration to provide some background information. Of course, it’s easy to say, “It works in Japan. Why can’t we do this in North America?” Well, maybe if we read and buy comics here, the number is 10 times. The scale of the various stages of the comic production ecosystem and the differences in business practices, from the training of young artists to the promotion of original works owned by creators, to the printing costs and distribution and pricing of Japanese bookstores, are difficult, if not sometimes Copy if possible in North America.

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