A debate broke out earlier has already reignited in recent days on site, "Please let us Largo" and "Ephemeral . He had left everything in
April Blog "let us Largo": an author, Luciferella, how many remained unemployed had asked: "How do you lavuri maggico in the world of comics and graphic animation to live? any of you that we can ? (...) Question: 'better to publish something on your own or work as a designer? ".
The response of the owner of a blog, Baldo Di Stefano (one year ago after working in the field decided to pursue other avenues and simply run a fanzine for newcomers, "let us off", which is unfortunately closed down) was: "Simple: we do not live!
In comic books, if you're not in Bonelli, or Disney, I add," or work for foreign countries, just hunger.
The animation of the few things I've done have paid me a "bang" (a lot) but only because one of these companies were financed by the European community (public money then) where more and spend more money and give you no control . And then you had to pay three times as necessary until you can squeeze the cow before it is destined for slaughter, and that is close the taps of funding.
but I do not think that "real animation", namely that private capital, things are so different from the world of comics, that is, or works for Winx or other countries or do you hunger ... well there. "
Insomma, una situazione notoria, con in più qualche rivelazione sul mondo dell'animazione, sulla quale l'autrice risponde: " Per quanto riguarda l’animazione devi per forza spostarti di continuo se vuoi lavorare, come i militari. Ma dato che si guadagna poco, devi arrangiarti a dormire dove capita (se devi lavorare in città costose non puoi permetterti di pagare l’affitto) e alla fine ti rimane poco.
Io non me la sono sentita e ora sto qua senza più quel lavoro".
Aggiungiamo che i committenti delle animazioni certe parti del lavoro oramai le "delocalizzano" in Cina.
"E quando poi superi una certa età sei fregato, non trovi manco più un lavoretto". Vero.
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Riguardo alla domanda il titolare del blog risponde: "Se hai bisogno di soldi è meglio lavorare come disegnatore che… portare una carriola piena di mattoni, o no?
Se ti vuoi togliere soddisfazioni personali, è meglio portare una carriola piena di mattoni e con i soldi che ti danno pubblicare un fumetto tutto tuo!".
Evidentemente certuni che lavorano nel mondo del fumetto sono giù ricchi di loro, o i loro familiari, risponde l'autrice, oppure "devi pensare a procurarti il cibo ma vuoi anche disegnare, quindi ti arrabatti con mille lavoretti o un altro lavoro da 1000 euri e disegni la notte; la categoria più ovvia non esiste, ovvero: guadagni disegnando
quindi devi appartenere alle categorie sopra".
the undersigned, would add another category: those who do not have a job but overpaid ridiculous collaborations and / or underpaid and / or not paid and / or and / or, but can not find a job either "serious" nor "not serious". And there are few, even apart from the speech "cartoon."
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The author in question is married to another author, and both are struggling to find employment in that field. The discussion resumed in December: "From" eternal beginner "who we are, we often have to" work "for nothing.
For heaven's sake, the passion is there and we do so willingly if ci viene richiesto da persone che apprezzano il nostro lavoro e che magari sono a corto come noi.
Oppure si fa in cambio di altre cose, tipo distribuzione e pubblicità che nel nostro piccolo non ci possiamo permettere.
Il problema è che tutto questo non avviene.
Tu fai il lavoro mettendoci passione, tempo e anche denaro talvolta ma sembra che tutto questo non valga niente.
Si pubblica gratuitamente per soddisfazione e la soddisfazione alla fine non c’è.
Si crea qualcosa su richiesta di qualcuno che sembra apprezzare quello che fai, gratuitamente, ma alla fine, consegnato il lavoro, o non se ne sa più nulla o viene cestinato (almeno così sembra).
Quello che chiedo io è un pò di rispetto.
If a job is not paid does not mean it has no value. A VALUE
have it all right, at least for those who create it. "
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answers among the first friends of this blog, the Ghetto: "I speak in general, not referring to particular publishers. But I say one thing, very simple.
You're right: the cartoonists deserve more respect!
To make a comic that takes time and patience. It 's a real job, we employ physical and mental resources!
Then in front of a comic book, the publisher should have the good sense to also examined from an economic point of view. Often instead
are editors who do not pay.
I say this:
until we are a group of friends and we want to do self-productions, fanzine or whatever, that's fine. It 'nice, funny and also gives satisfaction.
But if the publishers want to do then the question changes.
Many publishers say "you post your comic but you do not pay, but you do advertising." To advertise
there are fanzines and websites. The publishers MUST PAY!
If you do not want to pay the editor, but then you have the wrong job!
If you publish a comic book publisher to me, it means you've seen in my work something valuable and marketable. So do not you're making me no pleasure. I am a pleasure if you do you REGALO la mia opera.
E poi finiamola con i discorsi del tipo “non ti pago perchè non posso permettermelo”. Non penso che un editore che stampa centinaia di copie e va alle mostre ad esporre non abbia neanche 2 euro a tavola da darmi per una pubblicazione.
Secondo me spesso gli editori sono furbi. Approfittano degli esordienti per stampare fumetti gratis. Ho sentito editori che dicevano “mica gratis! sai quanto costa stampare un fumetto?”
Allora rispondo a quegli editori:
I costi di stampa sono uno dei prezzi da pagare per pubblicare qualsiasi cosa cartacea. Quando si vuole intraprendere la carriera dell’editore si deve sapere fin da principio che la stampa costa. Allora o si è disposti a sobbarcarsi l’onere (In addition to the costs of printing and distribution) to pay the author (who deserves at least a small sum in the sense of respect for his work) or, again, the publisher is not a job for you! (...)".
simply shared.
not the publisher who is a pleasure, is the author giving his work for free is a favor ... I believe the deceased Lilliput pay for exceeding quota of 99 copies sold ... but if you pass the level "fanzine" to the serious level, then at least symbolically also should be natural and obvious, but "I'll advertise, advertise even on the press then> :-( , Distribution ... spending for authors, albeit minimal, on a professional level, is something that should be put into account, supply material for publication.
It always takes a written contract, so the only excuse they have for not paying you is to fail (and it happens too).
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Respond Supersmanf designer: "I totally agree with you Ghetto But I think we should make a small distinction: if you're a rookie nobody knows you (...). At this point there is that the first publication will not be paid, but it gratifies you letting you know. It is clear that there are publishers who can afford to gamble on a newcomer, but usually it is to publish the authors of the already high level, in most cases is a possibility to the authors who still have much to learn. Once past this first hurdle, it becomes possible emergencies, and there the question changes. In short: you or the numbers and make the leap finding a publisher who will pay for your work on the bet (the bet is in the business risk, of course) or continue to be at the level editor that gives you free public ( most of the time if you're worth a little bit, you rewards in any form or however little money you see) (...)".
Luciferella in turn replied, "Ultimately I have not yet figured out when an ceases to be a rookie.
To understand, if I have some things published long ago (in my case around 94/95, the Father even before), then I quit for my reasons, when I reset it all?
To point out the final speech of the ghetto also add that I imagine that a publisher can download some of the costs, while those they self (and I guess even those who create non-profit fanzine) no. My regret is
direct publishing of this kind, but also to requests for graphics design or other stuff from people you have known from the blog and interested in your work and therefore you can not pay and so on.
Alright, but then my work, since it does not pay for you has no value at this point the thing I get upset.
To avoid misunderstanding from this category are of course excluding friends who always love to give a picture. "
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Yes, but ... even once you've become professional, spoke Baldo: "Everything just and which is acceptable to say that (...) I can only say that not even the gilded world of professional comic book is so sbrilluccicante and glittering as it appears from outside.
be paid at 30, 60 or 90 days (some time after delivery, but more often from the exit of the register on newsstands) but when the bills come every month, there is nothing so nice.
Dover correct 2 \\ 3 (but also 4 and 5) times the same work to the whims of the publisher and then seeing the first published version, you break the soul in such a way (...).
Working for years for a publisher who calls you at any time of day and night to solve problems of all kinds - and that has nothing to do with the work I do for him - believing Essert still won his esteem and trust, only to be shown the door when the newest addition to being available day and night like you (...).
Working for years for a publisher, thinking Essert earned his respect and trust, only to see the newest member, who has never read a comic in his life, not just the post supervisor that (...) rightful to you, but it also allows for "rejected" the stories repeatedly, not because they are bad, but just to let you know who's in charge from now on, it makes you reflect on soooooo term "professional" and "comic" trick, which are often incompatible.
And when you try to protest, the response you often hear is: "I pay you and then I do what I tell you to do."
Like hell, I have answered most of the time myself.
Perhaps for this reason that only now do comics for fun and do more to live?
Likely ... "
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E così, un mestiere dove ci si basa molto sull'inventiva (su un dono innato quindi) viene considerato un gioco da bambini, "i fumetti si regalano, i libri si regalano", peccato che il tipografo non te li sconti. E chi vi lavora viene trattato malissimo e sfruttato, e se produce molto denaro non lo intasca certo lui (leggendo il blog del Maestro Perogatt ho trovato delle cose ...), si rischia pure di trovarsi senza pensione. Figuriamoci come vengono considerati gli "aspiranti", quelli che vanno con i disegni ai quotidiani locali, e chi è seduto alla scrivania pensa "Ma chi diavolo è questo".
C'era una proposta di legge sugli autori di fumetti, chissà come vanno le cose.
Non per niente molti del settore cercavano Working in France ...
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And if one were to self-produce? In this case, you walk in the desert
- of publishers willing to publish, you find it difficult to find even if you autoproduci, that is if you pay the costs.
- typography that do not make you a quote from the catalog of art, but hopefully something non-leech is found (with difficulty because some printers not even respond).
- distribution and sales points: the comics do not take the fanzines, comics, and if orders do not get smaller (I tried to make an order but nothing has damaged one of the authors commented in kind and not entirely agree with, the I finally found all in a real store, Alessandro distributions).
- a vision: there was "Amazing Comics" to review regularly the fanzine, now? On the web then there is some room but in the end it seems that there are only Alan Moore, Dylan Dog and Disney Treasures. And fairs? I hope to get better, do not travel a lot lately ...
- advertising: anything for beginners (but not for others, they are The days of swivel, and Ergo Toseroni Spread).
- of readers, and we talk about this below.
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However Baldo Di Stefano is right: the self-produced debut authors often do not miss buying other emerging authors, imagine the normal public.
Because in the end the players ignore the new proposals: the past is crazy for manga, now the van of fashion volumastri expensive, the money is spent on them. On the site
" Quiff " talking about a magazine that presents various Italian bands for the price, in my view promotional and, I believe (I do not have accounts at hand) insufficient to cover the cost of one euro per copy, well, says the owner of the blog and co-author of the magazine, referring to Luccacomics: "A register of a € I thought it was easier to sell a 20 and instead I realized that people in the pocket is only fifty bucks and nothing change, the face of the crisis. " The tone was a little playful, however, it seems to me that one can be summed up: "We could not sell a magazine to un'euro, while circular saw flowers of banknotes".
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But we talk about comics or SUV? Have to be all about luxury? The history of comics in Italy have made the albums Horn, the pocket of Mickey Mouse, the Corriere dei Piccoli, other things, all well away from the coated paper, from luxury publications, from books that once were seen occasionally in a library, while today they would have to spend around ten euro (twenty thousand pounds) per week, and perhaps leaving more than one.
And then we complain when the balloon becomes elitist.
But these volumes, messi poi in fila su uno scaffale, vengono poi letti? Molti in rete commentano "ho ancora un sacco di arretrati da leggere", sfido, tutte quelle pagine per volta sono un pò indigeste. Come per le tv: le pubblicazioni "di grido" agli allori, gli altri nelle catacombe.
Ma questa crisi economica non ha insegnato che il "gigantismo" è dannoso? Pare di no.
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Difficile proporre qualcosa di nuovo, riproporre qualcosa di vecchio ... c'è stata anche una minor varietà di letture rispetto ai vecchi tempi, e questo si ripercuote sui gusti del pubblico ...
Gusti guidati ... troppi manga nelle giovani generazioni, troppi film fatti con lo stampino ed estrogenati such as steaks, too much "approval in transgression" for superheroes, more and more like their caricatures, no more carefree, bright spots, ideal, just a hard-boiled "(waiting for the hard-core, sure, if a sheet the last production of Black Widow ...) Series Z.
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The magazine Anacanapana "then navigate the seas in very shady, still missing three key recommendations and a response by a sort of" comic books networking "(and every development in this direction will be posted here), but ... Think about it: the magazine ECSegar a reprint of 1919-1920 (along with Mc Manus and Herrimann) unpublished, rare, invoked by many ... I tried other tracks reprints online, and find none to any country in the world and for any age. Result: ignored by information "official" and some opinion leaders in the network ready to stralodare the author of the moment. Of course, if the proposed Planeta for 25 € or more a pop then the same series in 1929-30, when there is "big" of half the buyers are.
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not to consider Segar and Associates is also the world of information, but as regards the media Romagna, newspapers and TV, non- response to the reports does not surprise me, knowing the Romagna (Bologna, but also the tv non han risposto) ed i suoi livelli di non-eccellenza, anche i siti internet specializzati nel mondo del fumetto si sono completamente disinteressati della rivista, fatta eccezione per quello dell' Associazione Comixcomunity di Reggio Emilia che hanno pure gentilmente avvertito della pubblicazione del comunicato stampa .
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"Anacanapana", oltre ad avere il primo piede nel mondo del fumetto "syndacato", regolarmente schernito in giro con frasi tipo "Ma quale pubblicare fumetti del King Features Syndacate" o "Arcibaldo e Petronilla? Vecchiume" (anche Superman e Topolino per la cronaca, ma a quelli degli albi non si azzardano a fare questi discorsi), ha il secondo piede nel mondo del "fumetto in rete", ed uno dei più importanti esponenti di quel settore, l'editore Lucio Staiano, ha commentato : "Certo, il mondo del vecchio fumetto fa finta di ignorarci, ma dei dinosauri ricorderemo i fossili e li terremo nei musei (...) a Shockdom non interessa molto entrare nel mondo del fumetto “ufficiale”… lo ritengo un universo in fase di collasso e autocelebrante, dove quattro vecchie signore si fanno i complimenti e/o litigano come se discutessero dei grandi sistemi".
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Enrico, Marco e Sara a colori: http://www.anacanapana.it/moerandia/Anacanapanazero.pdf
La rivista Anacanapana è acquistabile anche a Bologna presso Alessandro Distribuzioni
