Only uncles and aunts buy paperbacks.

>>4

Poor person…

Was it something that would only be consumed if it was free?

Was it only accepted by those who don’t spend money?

I want to keep things that I want to reread or that have really great illustrations.

Well, if you think it’s good, you should support it by buying the e-book, or else it’ll disappear eventually.

>>10

(Someone will do it)

I usually buy the ones I feel strongly about supporting, so I haven’t really thought about it much…

I really like it, but I feel like it won’t be well received by the general public… so my desire to buy it becomes relatively stronger.

Well, I usually don’t feel like buying unless it’s something really special.

I want to read the previous story because there are hints that I often pick up in the purchased patterns (but the free trial has ended).

It’s relatively liked, and the bonuses that are only available in the paperback edition are substantial.

The seaweed comes off or something.

I buy the volumes because I tend to miss updates on minor sites.

I read it on the app since I check Jump Plus at least once a week.

>>16

Impact series definitely make you want to know what happens next, which is reflected in the number of PVs.

“It doesn’t really reflect on the sales of the standalone book ‘I Want to Read Again’…”

Reading gag manga in one go in a tankobon feels a bit lacking.

I read it like a palate cleanser when it’s featured in a magazine.

I usually don’t buy manga if the art isn’t good, but I’ll buy anything if it’s on sale.

So please digitize it and hold a sale.

The upper right pattern must feel really good for the creator…

When they do free promotions regularly, I end up wanting to reread it and buy the entire series.

I would like to request the sale within 100 yen.

The thread picture was about a manga where Kongou is saying, “Am I being fired for working alone!?”.

>>24

Is that true?

>>24

There are pages that I want to see even more than that one frame.

Poorly made death game stories, etc.

If it’s free, I might read it, but usually the highlight is that a character dies, so once I’ve read it, that’s enough for me.

It seems like something that would be bought if it’s something you can taste every time you read “discommunication.”

It’s hard to understand the diagram below unless you write the number of PVs and sales on the vertical and horizontal axes.

It’s interesting, but I don’t want to keep it on my bookshelf.

To overturn the notion that it’s not worth buying, we need to work hard on the bonus for the paperback.

I also think the main story lacks enough punch, but there are some mangas that I feel like I might as well buy because they have extras in the paperback editions.

Isn’t this kind of bonus basically unpaid labor? Does it depend on the publisher?

>>31

It should have been common to draw for free.

I remember the writer who said “That’s strange” was doing something on social media.

>>31

The income from drawing manga mainly consists of the manuscript fees for being published in magazines and the royalties received from the sales of volumes.

The cover and extra pages of a standalone book are not published in magazines, so the manuscript fee is basically not paid.

>>57

Oh, that’s the kind of system it is.

It’s a tough job.

In electronic comics, Shukoro, which offers physical bonuses in special editions, is indeed impressive since it’s the original publisher of the supplementary content.

I think it’s interesting and I’m reading it, but it’s not worth buying.

If it’s canceled, it’s canceled, and that’s fine…

It’s ruthless, but this is how it is.

I don’t really like it overall, even if there are some shocking developments that seem fitting and it gets loud at the moment.

Aren’t we just pushing too hard for the PV?

I saw it in this thread and I check out the free parts a little.

It seems like something that will be used as material for a comedy skit and forgotten an hour later, let alone the next day.

I don’t really want to know anything more than what I heard from the anonymous source after episode 1, so I’m out.

Comics I don’t want to keep on my bookshelf.

A manga that is just right to see flowing on X.

Does a pattern in the upper right exist?

Are there any writers who have dedicated fans?

>>42

I only buy the volumes without following the serialized continuation.

Even if it’s interesting, there are manga that feel heavy to read again…

On the contrary, it’s too light for me to read it twice… that’s also a thing.

What kind of patterns do low PV count and sales for manga have?

>>47

In the first place, not knowing that it is available for free.

Is it something like the content is popular but the streaming site is terrible?

>>47

Does a writer have a fixed fanbase or something?

You only need to read the first few episodes of the “zamaa” genre!

Gag manga has been difficult to sell in collected volumes since long ago, so magazines take that into consideration.

The top right might have an irregular serialization interval, and it’s also possible that it’ll be fine to wait until the volume is released.

>>53

It’s not getting any traction outside of the bulletin board with such obviously topic-worthy content!

>>56

It feels good here that only manga is being consumed, but elsewhere, it’s known for having a style associated with women in the entertainment industry…

The important thing is whether it resonates with the silent majority or not.

>>55

If we assume the premise of a free manga app, then shouldn’t we consider the paperback editions as fan goods to appeal to the surrounding audience?

There was an account on x using Mii-chan as a topic.

It was an account primarily focused on bashing women.

There are many works that I don’t need to read again after reading them once in a stream…

Still, even though I vaguely realize that the author’s work is something I probably won’t read again, I buy it as a donation.

It sounds like getting buzz on social media is a bad thing, but there are many people who spend money, so it sells.

Even if I buy a standalone book, updates are delayed, so I think I don’t need to buy anything except for those I want to re-read after they’ve been completed.

>>63

I understand from the fact that the much-discussed hyperinflation didn’t result in a significant number of copies sold that there aren’t that many people in the “buy after it’s completed” category.

>>67

Well, it’s not that they don’t exist, but most of the crowd that spends money buys without waiting for the completion.

The Bus E is interesting and makes me want to re-read it regularly, but reading it all at once in a single volume is exhausting…!

Some jokes or panels went viral or became standardized.

It seems like it’s thriving, but in reality, there are many sad cases where it’s not selling well.

>>66

When it comes to being focused on buzz, what’s actually seen are the altered versions of the collaborations, and it’s typical these days that the original creators aren’t actually present.

>>68

Isn’t that actually a lot more amazing?

Looking at the sales of the paperback books, I’m surprised to see so many titles that I haven’t even heard of making waves.

There seem to be many unnamed people who have already forgotten the name like “Document Saga.”

>>71

Those who were following that are probably now following the ones who are working with Horie Rosuto…

It’s just my personal impression, but I feel that low drawing skills tend to lead to this kind of result.

A little while ago, death game stories were often featured in PVs but they didn’t sell well.

I love hyperinflation, but I’ve read everything in installments and I’m satisfied…

I am somewhat sorry.

There are works that I want to spend money on even though I can read all the episodes for free…

I am buying electronics, but it’s impossible to buy physical books even if I am asked to… that’s what I think.

I wouldn’t say it was interesting enough to buy hyperinflation.

It might be easy to make jokes out of it, but…

It’s interesting, but whether I want to spend money to line my bookshelf with it is another question.

It is often the case that another evaluation axis emerges.

>>83

Well, whether it’s interesting or not is a separate matter from becoming a fan.

If you have finished reading it or if it’s a serialized work, even more so.

The cover is lame, isn’t it?

I don’t have space to keep physical copies of my favorite manga.

If it’s digital, I would buy it without hesitation.

Is just having a PV not enough?

Is advertising revenue really that insignificant?

>>86

Yes.

That said, there are web manga artists who are relying on Amazon downloads as a means of income through contracts.

>>86

Recently, a manga artist who is serialized on Magapoke said that rankings like PVs and number of likes, as well as going viral on the internet, do not affect the serialization at all.

Anyway, whether it’s paper or digital, please buy the paperback, I’m asking you.

>>86

Isn’t it the side that pays for advertising?

What do you mean by PV?

>>91

It means “preview.”

There are also factors such as whether there are paid versions, the latest episodes for free, or the presence of magazines when it comes to the number of e-book views.

One-person operations for dismissals are not interesting…

I’m happy to see a manga featured in a magazine that I buy, even though it’s not enough for me to purchase a standalone book.

It’s possible that something is selling well even though it’s not trending online simply because it’s outside my scope of awareness.

I also slightly think that the preferences of the prominent otaku group on the internet are quite biased to begin with.

A case where the public relations team is doing a great job, but the writer is not able to create corresponding value.

>>97

Are you investing in a work that doesn’t deserve it…? Shouldn’t that money be invested in other authors or works instead…?

In the past, I used to buy just about anything, and sometimes I would randomly purchase books just by seeing them stacked at the bookstore, but now I hardly buy anything anymore.

Rather, it seems that a high number of PVs but low sales is a common image, but is that really an exception?

>>100

It’s important to showcase things widely because it can reach people who are willing to spend money if it becomes somewhat popular, and it reasonably reflects in sales.

Only exceptions occur.

>>100

It’s probably a difference of about 1 million yen in sales versus 10,000 yen or so.

Most of it is low in the lower right.

I think it’s a miracle that Kaiju No. 8, which has a lot of PVs and should have amazing sales, ended up with that result instead.

>>103

What is the result…?

Is it something like a trick?

The muscle magic had good promotional value, and a lot was printed, but it didn’t sell.

The otherworldly uncle from the same period sold well.

Shueisha often seems to make mistakes in the distribution of money for public relations.

If it’s available for free, I won’t buy it unless the original volume is particularly luxurious.

It can be said about Jump Room works that even if they try to get people to read them for free due to their inability to be published in the main magazine, they cannot easily overcome the barrier to being purchased.

>>112

Jump+ is able to say such things despite experiencing a reversal phenomenon compared to the main magazine.

>>117

The reality is that the manga artist couldn’t make it in the magazine.

I love binge eating! I read it as a joke, but it’s in the category of something I wouldn’t buy…

Kaiju No. 8 didn’t generate as much excitement for its anime adaptation as it did for its sales, which is hurtful.

>>115

It’s no good, the cat’s galaxy.

Well, I read it as an aside in the magazine, but I’m not in a position where I’m buying the magazine just to read that work…

I wonder if Nekoda-san is making a living at Jump Plus.

It seems that the contract is to receive advertising revenue without publishing a standalone book.

>>120

3800 episodes free!

Compared to this magazine, which even aims for social phenomena,

A web medium that can only compete at the level of buzzing among X’s manga otaku won’t stand a chance.

It’s not something I watch repeatedly, but when the artwork is beautiful, I want to have it close at hand.

It’s this with Mii-chan.

WJ itself is at a dead end, and as usual, unlike the other three magazines, it hasn’t transitioned to offering the latest episodes for free on the web, so a reversal might happen sooner than later if things continue like this.

>>128

You’re essentially awake now, right?

This is the sauna wars.

There are often many failure patterns when trying to bring a plus ace to this magazine…

There are manga that sell more than I imagine, even though I’m reading them.

Mochizuki sold 200,000 copies of volume 1.

I can’t believe it.

Works that transcend the line of “this won’t sell” are really hard to analyze…

It’s okay to buy the paperback, but is the digital version fine?

Huh? There’s no original bonus content included with the digital version?

…Well then, that’s enough.

Mochizuki sold half as many copies of Hyperinflation (Volume 6) as in Volume 1…

Even if it says thousands of views on the band of a paperback, does that really make you want to buy it?

Even if there are a lot of views, it’s unclear whether the same people are continuously reading it, or if it’s just trending for a moment, making people glance at it and then never read it again before closing it…

The part where the manga is posted here is often the most interesting…

If it’s something like Jump, I think there might be some interesting ones even if the art is a bit rough, so I try reading them.

Basically, having a somewhat catchy thumbnail makes you want to look at it, and if a comic is out, you kind of feel like buying it.

>>142

Just as it is impossible to predict downturns regardless of how much data is available.

There is no strategy because inexplicable spikes occur.

The seller asks us to buy printed books, but we can’t hold on to physical books, can we?

There’s no reason to buy a paper edition now because the e-book version doesn’t take up space and is more convenient.

>>143

If it’s a manga chosen based on preferences, then as for paper, it’s a bit…

Mii-chan’s is just getting attention because she likes playing with someone who has no name.

If it’s only treated as a topic of conversation, then the side that values sales will certainly have a problem.

The “Kengan Ashura” with over 600 million PV has a circulation of about 1.5 million copies!

>>147

Thanks to the editing team creating an official account and steadily accumulating promotions and events, the topic has been able to sustain its interest properly.

You’ve probably forgotten about Kemofujin, right?

>>148

But you remember…

Mochizuki-san not only has actual sales, but it’s amazing that she always becomes a topic of conversation with each update.

It looks like a type of work that can only be read at the beginning and then discarded, but that’s definitely a bug…

Stop releasing volumes 5 and 6 as physical books and then switching to digital-only halfway through.

>>152

Even if you tell me to stop, publishers are not a charitable organization…

>>152

It’s already clearly due to poor sales, so there’s nothing that can be done…

>>152

There are no more bookstores, you know…

I saw that Mii-chan started with static images, but not many people seemed to be watching…

It may be partly because it’s a later publication, but…

Even if you advertise, you can’t know if it will sell, but selling without any advertisement is a miracle…

Isn’t it the type of manga you don’t want to leave on the bookshelf?

Here’s a revival sales strategy targeting people in their thirties to forties.

>>159

It was popular for a while, but there aren’t many people to support it, so it’s decreased.

>>159

This is also true for Wataru.

>>170

If it’s just for nostalgia, it might end with one revival, but since it’s been done multiple times and continues, it’s probably selling fairly well.

>>180

This is the first time of the new series, no matter how many times it has been.

If everyone only buys electronically, then of course it will only be released electronically.

I don’t really get what that drama queen is about.

Not buying.

I have a growing sense of urgency because if I read it all at once for free, I immediately forget the character names and the story.

Honestly, it’s all luck.

>>165

Well, I can only say that…

At one point, I thought publishing would be successful due to page views and buzz.

I’ve heard that it’s not really like that recently.

>>166

I used to work on a manga that interviewed things that went viral but didn’t sell.

Don’t include this in what’s considered viral! It’s not even as popular as a regular person’s funny tweet! I was getting harsh criticism from anonymous users, and it made me feel like the whole standard for what goes viral is really off.

No matter what, if the recognition goes up, there will be a group that tries reading it and then thinks, “That’s enough.”

Simply boring or not my taste.

My favorite work has sold 8 million copies, but it doesn’t get talked about nearly as much as you’d expect, and it was turned into a terrible anime.

>>175

Although it had sold 5 million copies before the animation, it was thrown to a young studio that had only made about three works and a brand new director, who said they wanted to try something new in a production environment with absolutely no know-how! As expected, it ended up being a disaster due to schedule issues, resulting in an animation that became garbage as it was meant to be.

Doubt the sanity of the planner.

I enjoyed MJ, so I ended up buying the paperback as well.

“Even if I’m told to publish it in a book instead of electronically, the space that bookstores have to arrange those books is limited…”

There are now only a few bookstores left in urban areas throughout Japan.

If you’re going to sell at low margins, you have to sell electronics too.

Even the only large bookstore in the area is reducing its sales floor space, so it’s surprising…

In other words, once you get used to e-books, the re-readability of physical books is too low.

It might even lose its attachment…

When you buy the latest episode on DAYS, it automatically counts as buying the tankobon, but I wonder how the counting works.

I’m sorry… it’s hard to see books with Hunter x Hunter and my presbyopia…

Books other than comics are even more miserable, so we’re trying various small print runs to be profitable.

Such businesses are likely to start emerging in the comic market as well.

It’s different from DL doujin or original doujin.

I really don’t want to reread it with Mii-chan and the others…

It may be treated as not selling well compared to before, but Jump is still at the top after all.

I don’t want to read something like “the strongest in the local area” even if I have to pay for it.

Chiikawa is abnormal.

Printed books are absolutely impossible to store due to space constraints.

The space is finite.

The magazine Jump, which has a circulation of 1 million copies, is undeniably in a category of its own.

Without a doubt, the fact that it goes viral and increases page views is a positive occurrence.

It only depends on whether the work itself has the appeal of a product.

I feel like things that are popular on the internet or social media, where there are spoiler bans and gaps between paying readers and those who are a round behind, don’t sell many physical copies.