| word from publisher is the opinion column Pedro F Medina †@Studio_Kato), editor-in-chief, responsible for licensing and social networks fandogami and the journalist with an undisguised showman’s face in comic book and manga events |
I have a few Moleskine notebooks from when it was fashionable to pay a fortune on premium stationery. How we were deceived Because I used them to collect the drawings, I caught them in thick weight and that way the ink didn’t go through the paper. This sounds like brutality in our unfortunate twenties, but I can assure you my intentions were not dishonest or arrogant. At the time, I was doing a lot of interviews and news for the digital comics media, with many consecutive weekends followed by commercial shows and comic book days, so there were plenty of writers I could reach out to in intimate situations. Eating out in press rooms, sharing booths in inhumane conditions, peeing in men’s restrooms (sometimes in worse places). He only collected signatures from people he was in close contact with in one way or another. I guess I hardly have any special comics. The notebooks are from 2008 to 2012 and I have small drawings by Liniers, Claremont, Terry Moore, David Lloyd. From almost every quisqui on Webcomics on the Spanish platform. From influencers before the term existed. All kinds of fanzines, some of which later founded professional publishing houses. And then a stone that worked for me. I was a chicken in the comic book world and those doodles were tangible proof, tangible proof of realizing that I was there and part of the THING.
He probably hasn’t asked for a dedication since then.
On the one hand, I feel like I’m doing their job for them, as I ask those who already work with me to do special things for Fandogamie, which is an extension of my own being, like an extra organ or a fourth leg. Me too. On the other hand, because at this point (and look, I have a way to go) there’s already enough lanes and dips in the middle. If I dive any deeper, I’ll drown. And finally, I feel bad. They’re dragging enough to steal five minutes for something very personal. They are artists, their time is as valuable as anyone else’s, and they owe us nothing. And that I’m a bit of a demicomiquero, if I don’t have a little bit of a relationship with you, it gives me a cold to sign me somewhere. Right now, if I wanted something personal, I would order a commission, period. Anyway, we were young, there are people who are devoted to collecting Adolf Hitler’s sketches in his sketchbook (even the Purita Campos, convincingly) just for fun. I’ve seen authentic semi-finished incunabula, hardcover books owned under anonymity by famous businessmen who sent their figureheads to get custom cover artworks and continued to fill the pages with artwork (for free). It was worth everything.
A few weeks ago, as is often the case, French writers claimed their rights to Angoulême and put the theme of the introductory sessions in their comics on the drawing board: it’s business and therefore they should be held accountable. Since no one took out their wallets, the government promised to pay them. Under what conditions remains to be seen, but the suggested odds are absolutely staggering looking south of the Pyrenees. Two hundred and fifty euros (€250) for the signing day (I understand it’s a really busy day if you have to travel) I don’t cover it unless you sell a lot of copies and move your hand, because sightseeing and hotel transport also add to the costs. They seem like budgets designed for festival organizers to pay big companies that attract people, but even in glorious France, where we’ve always looked to foodies but were unaware of its systematic uncertainty, there are authors who sign two or three books throughout the year. . afternoon. And keep the tide, you. How brave. There are offerings that are not profitable for the book trade, publishers or anyone else. But it’s like being Rosalia or being the opening scene. Cache, although it bothers us to know.
I understand those who want to put their stamp on their comics. To you with your creative side, thinking minds and hands that build facts. The desire to embody the unreal, to approach the non-existent and to make it yours as much as possible. There’s a fetishism there, plus paganism, some complacency, but above all (I like to think of it) there’s admiration and love for the medium, the vignettes, and what they represent. Or maybe I’m the idealizer and the only thing behind it are accounts on eBay and Wallapop. That’s why there are many sessions where the signatures will always be with the recipient’s name, surname, and blood type.
I hesitate between the need to move comics and the assertion that the existence of screenwriters and cartoonists requires the realization of a professional industry to impose over time already ruined jobs, an overload and a certain misery. I accept every proposal that comes my way in a slightly less creative way, but it’s hard for me to give my own writers this opportunity because I know how much extra effort this represents and it just pays off with a smile and a smile. several dinners. From my subsistence economy (with works that sell in the hundreds, but not thousands of copies) I can assure you that with the percentage remaining from each comic book, the numbers of signatures will look like they were eaten before they’re served, but you’re inviting. Come to the booth as an expression of gratitude to honor themselves and see their work promoted accordingly. But what if what I want is free work? I don’t plan concerts in bookstores because I don’t see the benefit: so far no one has offered to share travel or accommodation costs. And the distributor and point of sale account for an average of 55% of the coverage price. You may think that I do not support the embedded system, but it is not because they support me a lot. And I get it: if you can get a National Award, Award Nominee, or anyone else posted outside to sign this Saturday, our hearth can bring it to you. No staff, son. Keep selling my books as best you can, I can’t blame you. When we’re the last shit Cache, blah blah blah though.
Therefore, without knowing very well where the money will come from to pay for this work, the question (whether it is realistically collected in Spain*) will fall to the final consumer. Do you want to draw? Steal the coins. There is a curiosity in cultural education, and that is, youth is more advanced than we usually want to believe, and we are the rest of the elders showing all the cardboard that keeps limping. It’s like seeing video games as an art or seeing that a gay person can have rights. Zotes will always be everywhere, of course, but here weekends and similar events where no one visits during the quarantine (except to accompany the brood and pick it up at the door). Placing orders that are usually pre-ordered online and ready for pickup at trade shows will provide another full column. Fanzines are slowly disappearing in these parts because it takes a lot less work to draw and print some pages and you get a lot more from them. Even those who crowdfund their creations know that what is ordered is an extra, a motivation to reserve first, or something somewhat limited. The audience that comes to us already knows what the movie is about. Give him time.
I’m on my way to buy a piggy bank.
*name is strictly intentional.
†Throw a coin to your Witcher
O Valley of Abundance
Oh Valley of Abundance, oh
Throw a coin to your Witcher
O Valley of Abundance†
-Jaskier.
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