【Multilingual subtitles】 🤔💭WHAT YOU NEED FOR NEW MANGA BUSINESS💰 FOR YOUR COUNTRY💡 PART 1.

Summary

In this video, Boichi, a mangaka and YouTuber, discusses the evolution of the manga industry and shares insights on how to establish a successful manga market globally. He emphasizes the importance of clear direction, starting with a large scale, avoiding free services, and having a diverse range of content. Boichi also highlights the significance of securing investment, fair revenue sharing, and nurturing local talent for sustainable growth in the digital era.

Takeaways

• 🌟 Boichi, a mangaka and YouTuber, shares his insights on the evolution of the manga industry and offers advice for emerging markets.
• 📚 The Japanese manga market has seen little change for 70 years, but now faces a significant revolution, which Boichi believes will be even more impactful.
• 🔄 The Korean manhwa industry has undergone major transformations about every decade since the 1970s, providing a unique perspective on market development.
• 🚀 Boichi emphasizes the importance of having a clear direction for new manga media outlets, whether they are webzines or platforms, and tailoring the approach to the target audience.
• 🔍 The distinction between a webzine and a platform is crucial; webzines are magazine-like digital services, while platforms offer a broad range of content to diverse audiences.
• 🌐 Boichi suggests that starting with a manga platform rather than a webzine is preferable due to the scalability and potential for broader market reach.
• 💡 He advises against starting with a free service, as it may not be sustainable in the long run and could hinder the growth of the manga industry.
• 📈 The script highlights the importance of starting with a large scale, such as 100 serialized titles, to quickly grow the market and establish a strong foundation.
• 💼 Capital is identified as a key factor for the success of a manga business, with the need to secure investment to support aspiring artists and create opportunities.
• 🤝 Fair revenue sharing is crucial to attract and retain talent, and it should be a significant part of the business model to ensure creators are motivated and rewarded.
• 🌍 Boichi touches on the potential of the global expansion of manga and the importance of creating a compelling vision to secure investment and support from stakeholders.

Q & A

What are the two pieces of news that Boichi is excited to share about Brazil?

The script does not specify the details of the two pieces of news about Brazil that Boichi is excited to share. It only mentions that he is excited to share them in the context of celebrating the launch of a new manga media outlet in Brazil.

What significant change has the Japanese manga market experienced in the past 70 years?

The significant change the Japanese manga market experienced in the past 70 years was the establishment of the manga magazine and tankobon system in the 1950s, which has continued until today and is now facing another major revolution.

How often has the Korean manhwa industry undergone significant transformations since the 1970s?

The Korean manhwa industry has undergone significant transformations roughly every 10 years since the 1970s.

What does Boichi suggest as the first thing to emphasize for a new manga media outlet?

Boichi suggests that the direction of the manga media outlet must be both clear and unequivocal, especially in the digital era where most forms of manga media outlets are manga webzines.

What is the difference between a manga webzine and a platform according to Boichi?

A manga webzine is a digital service in a magazine format, targeting a defined market or specific region with a focus on a limited group of readers, whereas a platform targets all reader groups within legally permitted and broad regions, offering a variety of manga or comics from all genres.

Why does Boichi recommend starting a manga business with a larger size?

Boichi recommends starting with a larger size because the golden time for growth of small manga media in each country may be shorter than expected, and it's essential to grow before this time runs out. A larger scale is better for rapid growth and market establishment.

What is Boichi's advice against starting a manga platform with?

Boichi advises against starting a manga platform with a free service, as it might seem like an easy idea but will come with a heavy cost later and is not a sustainable approach in the long run.

How many serialized titles does Boichi suggest starting with on a manga platform?

Boichi suggests starting with at least 100 serialized titles on a manga platform from the beginning to ensure rapid market growth and expansion within the golden time frame.

What is the importance of capital in the manga business according to Boichi?

Capital is crucial in the manga business as it allows for the investment in aspiring manga artists and their works, providing them with opportunities and the chance to create successful works, even if they fail initially.

What should the revenue sharing be like for creators in the manga business?

The revenue sharing should be favorable, giving creators a significant share of the money that readers pay, which is essential for attracting a large number of quality talents into the industry and inspiring creativity.

Why is it not essential to focus on profit margins when starting and growing a manga business?

Profit margins and outcomes will eventually come in the content business, but they aren't essential when starting and growing. The focus should be on scaling up and attracting quality talents, with the understanding that profits will come when a big hit emerges.

Outlines

00:00

🌟 Introduction to Global Manga Industry Evolution

Boichi, a mangaka and YouTuber, expresses excitement about the launch of a new manga media outlet in Brazil and shares his insights on the global manga industry. He reflects on the Japanese manga market's 70-year stability and the significant changes it's currently undergoing, which he believes will be more revolutionary than ever. Boichi also draws a comparison with the Korean manhwa industry, which has seen substantial transformations every decade since the 1970s. He emphasizes the importance of understanding how new manga markets form and develop successfully, acknowledging his own limited perspective and inviting viewers to consider his advice critically.

05:05

📚 The Distinction Between Manga Webzines and Platforms

Boichi clarifies the difference between manga webzines and platforms, using Shōnen Jump+ as an example of a webzine, and YouTube and Netflix as examples of platforms. He explains that webzines are digital magazines targeting specific reader groups, unlike platforms, which aim to serve a broad range of consumers across various genres. Boichi stresses the importance of having a clear direction for a manga media outlet, whether it be a webzine or a platform, and suggests starting with a well-thought-out plan. He also discusses the benefits of being part of a larger service, such as receiving stable support and protection from the parent company, and the potential advantages of manga businesses for large companies due to their low production costs and minimal environmental impact.

10:07

🚀 Scaling Up and Avoiding Free Services in Manga Business

Boichi advises against starting with a free service for manga platforms, arguing that while it might attract attention initially, it's not a sustainable long-term strategy. He suggests that the manga business should focus on growing in size and serving a broad range of content to various reader groups. He recommends starting with at least 100 serialized titles to quickly expand the market and establish a strong foundation during the 'golden time' for growth. Boichi also emphasizes the importance of capital in the manga business, suggesting that securing investment is crucial for providing opportunities to aspiring manga artists and ensuring the industry's growth.

15:12

💰 Capital, Creator Revenue Sharing, and the Future of Manga

In this segment, Boichi discusses the importance of capital in the manga industry, stating that while talented artists are necessary, securing investment is even more critical. He encourages presenting a grand vision to investors to attract capital, which can then be used to support aspiring manga artists. Boichi also stresses the significance of fair revenue sharing, advocating for creators to receive a substantial share of the profits. He suggests that focusing on creating hits and not overemphasizing profit margins in the beginning will lead to higher profits in the long run. Lastly, he hints at the potential of producing adult-rated manga as a strategy if sufficient investment is not secured.

Keywords

💡Manga

Manga refers to a style of Japanese comic books and graphic novels that has gained global popularity. In the video, the term is central to the discussion of the manga industry's evolution and the potential for new markets to emerge, as the speaker, Boichi, discusses the historical context and future possibilities for the medium.

💡Manhwa

Manhwa is the Korean equivalent of manga, referring to Korean comics and graphic novels. The script mentions the significant transformations in the manhwa industry since the 1970s, highlighting the unique evolution of the comic industry in Korea and serving as a comparative example to the Japanese manga industry.

💡Revolution

In the context of the video, 'revolution' is used to describe major shifts or transformations in the manga industry. Boichi speaks of a past revolution in the 1950s that established the current manga system and anticipates another significant revolution that is currently underway, indicating a time of change and innovation.

💡Manga Webzine

A manga webzine is a digital publication format for manga, similar to an online magazine. The script differentiates between a webzine and a platform, emphasizing that a webzine targets a specific market or region with a focus on a limited group of readers, unlike platforms that aim to serve a broader audience.

💡Platform

A platform, in the script, refers to a digital service that offers a wide range of content to a broad audience. Boichi contrasts platforms with webzines, noting that platforms like YouTube and Netflix can provide substantial support to manga businesses due to their large-scale operations and diverse content offerings.

💡Scale

Scale, in the video, is emphasized as an important factor for the success of a manga business. Boichi suggests that starting with a larger scale, such as a manga platform with 100 serialized titles, can lead to rapid market growth and establishment within the 'golden time' for new manga industries.

💡Investment

Investment is highlighted as a crucial element for securing the capital necessary to support aspiring manga artists and grow the manga industry. The script discusses the importance of presenting a grand vision to attract investment, which can then be used to provide opportunities for creators and fuel industry growth.

💡Revenue Sharing

Revenue sharing is presented as a key strategy for attracting and retaining talent in the manga industry. The script suggests that offering creators a significant share of the profits can激励 them to produce successful works and contribute to the industry's growth, emphasizing the importance of fair compensation for creative labor.

💡Cultural Industry

The cultural industry is alluded to as a broader context within which the manga business operates. Boichi mentions the potential for the manga industry to contribute to the cultural industry by nurturing creators, creating employment, and enhancing a country's soft power through its storytelling and art.

💡Global Expansion

Global expansion is discussed as a vision for the growth of the manga industry beyond domestic markets. The script suggests that thinking globally from the outset can provide a significant advantage in the competitive landscape of the international comic and graphic novel market.

💡Free Service

The concept of offering free service is critiqued in the video as a potentially naive approach to attracting customers. Boichi warns against starting with a free service model, suggesting that it may not be sustainable in the long run and could lead to heavy costs later on.

Highlights

Boichi discusses the launch of a new manga media outlet in Brazil and shares suggestions for the global manga industry.

Japanese manga market has seen little change for 70 years since the establishment of the manga magazine and tankobon system.

The current Japanese manga industry is on the brink of a major revolution, potentially larger than the one in the 1950s.

Korean manhwa industry has undergone significant transformations every 10 years since the 1970s.

Boichi emphasizes the importance of understanding how a new type of manga market is formed and its early stages for successful development.

Weaknesses in the early stages of a new manga industry can hinder its growth, and Boichi has been contemplating how to minimize these issues.

The direction of a manga media outlet must be clear, whether it's a webzine, platform, or a new form.

Differences between a webzine and a platform are crucial, with webzines targeting specific reader groups and platforms serving a broad audience.

Advantages of having a manga business as part of a large company include stable support and low production costs.

Boichi advises starting a manga business with a larger size, suggesting a platform over a webzine for broader reach.

Starting with a free service is discouraged; the business model should focus on attracting paying customers from the beginning.

Aiming to create 100 serialized titles from the start can help in establishing a strong manga industry within the golden growth period.

Having a diverse range of works from the beginning is essential for the growth of the manga industry.

Capital is more important than the number of talented artists for the success of a manga business.

Attracting investment by presenting a grand vision for the manga industry's potential is key to securing capital.

Revenue sharing should be favorable to creators to incentivize high-quality work and attract talent to the industry.

Profit margins are not crucial in the initial stages of a content business; the focus should be on growth and creating hits.

Boichi hints at considering adult-rated manga production if insufficient capital is secured, suggesting a continuation in the next part of the video.

Transcripts

(♪INTRO♪)

BOICHIbeTOON for YOU; PLZ SUBSCRIBE, LIKE AND SHARE!

Hello, everyone!

I'm Boichi, a mangaka and YouTuber!

I’m incredibly excited to share two amazing pieces of news about Brazil with you.

So, in this video,

to celebrate the launch of a new manga media outlet in Brazil,

I want to share my suggestions on what should be done if manga industries

and various manga media outlets begin to emerge

in different countries around the world.

For 70 years,

there hasn’t been much change in the Japanese manga market.

Since the establishment of the manga magazine and tankobon system,

it has continued for 70 years.

This means that Japan also experienced a major revolution in the 1950s, 70 years ago.

Of course, there were other forms of manga market before that,

but it was in the 1950s

that a major revolution took place,

creating the current system that has continued until today.

And right now,

the Japanese manga industry is facing another major revolution.

And I think, this revolution will be even more massive scale.

And if we’re wise, we will eventually have to face it.

In Korea, REMARKABLY!

their manhwa industry has gone through significant transformations roughly every 10 years since the 1970s.

This is a very unique case in the comic industry in the world

and has been a special experience for me.

I’ve witnessed the collapse and revival of a large-scale manhwa market multiple times in Korea.

Through these processes,

I’ve thought deeply and reflected a lot on this.

How is a new type of manga/comics market formed?

What happens in the early stages?

And how can it be successfully developed?

One thing I’ve learned is

that when a new type of manga industry emerges,

weaknesses from the early stages can sometimes become more pronounced,

often hindering the overall development and growth of the industry.

So, for a long time,

I’ve been thinking about how the global manga industry could emerge.

How can we minimize the mistakes

and maximize growth in the manga business?

I’ve considered various approaches to these.

Despite all my thoughts,

as you all know, I have very limited and incomplete ideas.

I’m sharing my thoughts and offering advice,

but I acknowledge that my thoughts are also often lacking and flawed.

So, I would appreciate it if you, the viewers watching this video,

please keep that in mind as you listen to what I have to say.

If there are those who are trying to establish a manga industry in your country,

you can disregard the suggestions and advice I’m giving now.

That's absolutely fine.

You can ignore them.

However, if you find some of my ideas interesting,

I would appreciate it if you could consider them positively.

You are free to disagree or agree with my words.

These ideas could be both strengths and weaknesses for the manga industry that will emerge in your country in the future.

Please keep that in mind while you listen.

Because what I’m saying is simply the opinion of an individual.

Okay, let’s start.

The first thing I want to emphasize is that the direction of the manga media outlet must be both clear and unequivocal.

Specifically, in the digital era,

most forms of manga media outlets created in the manga industry are

manga webzines.

So, What is manga webzine?

Is it a platform?

Or is it part of a digital service?

Or is it something completely new and different?

The direction of this will become clear in the future business.

“Should we go with Japan’s manga style? “

“Or should we go with vertical order a Korean webtoon style? ”

“Or provide even more diverse forms of comics? ”

“And marketing specific reader groups?”

“Should we target a broad range of consumers regardless of age and gender?”

“Should we aim for the global market with various languages,

or focus on the domestic market with a single language? ”

Or for both?

I think it’s best to have a clear direction from the beginning

and start with a well-thought-out plan.

Among these, Are you planning to start to a manga webzine?

Or a manga platform?

And let’s talk about the difference between a webzine and a platform.

You’re all familiar with the Korean webtoons, right?

Webtoons emerged in Korea in 2004,

but before that, there was a period between 1999 and 2002

when the era of manhwa webzines began in Korea.

During that time,

Various manhwa webzines were released,

and many experimental works adapted to the digital environment were introduced

And webzines and platforms are different.

As the name suggests,

a webzine is a digital service in a magazine format.

The format and nature of the medium are derived from magazines.

If you look closely,(at that point view)

Shōnen Jump+,

which is often mentioned by aspiring manga artists around the world, is not a platform.

It is a manga webzine, not a platform.

YouTube and Netflix are platforms.

Now do you understand the difference between platforms and webzines?

They are not magazines.

Like all magazines,

webzines, target a defined market or a specific region where their service is allowed

focusing on a limited group of readers within that area.

That’s what makes them different from newspapers.

Newspapers are information-delivery mediums meant to reach all layers of society.

However, magazines are focused on specific consumer groups.

If their target reader group is boys, it’s a shōnen magazine.

Or if the target is people who like action manga,

then it would be a magazine filled with action manga titles.

But, platforms are

targeting all reader groups within legally permitted and broad regions.

To target readers of all ages and genders,

they aim to offer and serve a variety of manga or comics from all genres.

This is what a platform is.

Do you understand what is different between webzines and platforms now?

The difference between a webzine and a platform is more significant and distinct than you might think.

And it’s crucial to clarify this.

This difference is huge.

And what role do platforms play within a large service?

For example,

the parent company of LINE MANGA is Webtoon Entertainment.

The parent company of Webtoon Entertainment is a Korean company called Naver.

Therefore,

LINE MANGA is a manga platform in Japan.

In Korea, the Naver Webtoon service is

part of Naver's portal service.

Hence, the business strategy of Naver Webtoon is

inevitably aimed at the success of Naver's WEB PORTAL SERVICE.

And this can be a significant advantage.

So what is that advantage for manga and webtoons?

The advantage is that since the manga business is part of a large company,

it can receive stable support and protection from the company.

Isn’t that a tremendous advantage?

For example,

what if YouTube or Netflix started a manga business?

What if they said,

"Manga and Webtoons service is one of the essential services on our company.".

Their manga and webtoons service department could receive substantial support and protection from the company,

but in other hand, they would have to contribute to the success of YouTube or Netflix.

That’s how it works.

So, if we ask why a large service should engage in the manga industry, the answer is...

the manga business requires

relatively low production costs and does not take up much data.

It uses very few network resources.

Manga image data requires

only a fraction of the resources needed for a single video,

which also means it produces less carbon dioxide.

These days, carbon dioxide emissions are a significant issue.

Manga services generate almost no heat in data centers.

That’s the advantage too.

So, if you discover and utilize this advantage, it would be great.

This is how NAVER provides Webtoon services.

BOICHIbeTOON for YOU; PLZ SUBSCRIBE, LIKE AND SHARE!

One important consideration is

why we've only provided manga in such a limited way until now.

You can start a manga and comics business in any form,

anywhere in your country or beyond.

However, my advice is start the business bigger size!

Size matters a lot.

Saying bigger size means

that a manga platform is preferable to a manga webzine.

It’s better to serve manga as a platform whenever possible.

If you start small, you should aim to grow as quickly as possible.

Focus on scaling up first.

You can think about profit margins later;

first, aim to grow in size.

There are several reasons why it’s good to aim for grow the size.

Small manga media that emerge in each country

may have a shorter golden time for growth than you might think.

That golden time may be much shorter than expected.

Of course, you may be able to extend that golden time,

but it could be shorter than you think.

That's why it's essential to grow before the golden time runs out.

The bigger scale is better.

And in the end,

webzines get absorbed into platforms.

While a strong brand might survive independently,

it will be absorbed in some way.

And the second piece of advice I want to share

to those looking to establish manga media in your countries is...

DO NOT START WITH A FREE SERVICE!

Starting with a free service might seem like an easy idea,

But SORRY~!!

that's an incredibly naive and complacent thought,

and it will come with a heavy cost later.

Back in the 1990s, when the internet was first spreading the world

and IT businesses were emerging, there was a movement called 'Copyleft(ɔ).'

Well, the idea of offering services for free is a concept from before 2004.

If there was a content service created before 2004,

it would have been built around the idea of offering it for free.

And after that, Steve Jobs changed everything.

The current business model has now far surpassed that old copyleft model by several generations.

But as you all know,

has there ever been a time since the dawn of human history when people didn’t flock to something that was given away for free?

Everyone like free! I know.

Therefore, while free services can easily attract attention in the beginning,

they are not a sustainable approach in the long run from a strategic perspective.

And it's been 20 years since Steve Jobs pointed us in the right direction with the online content business model.

And Netflix showed us the right way forward.

“How can we attract people to our platform?”

“How do we encourage people to sign up for membership?”

“How can we get people to make payments?”

This should be done not through a strategy of offering things for free

but through other attractions.

In other words, the manga platform services shouldn’t lure consumers to read manga for free and expect to generate traffic;

they need to come up with a strong attraction.

Now, the third point,

which is closely related to the idea that bigger size service, is this:

if possible, you should start

by creating 100 serialized titles in the manga platform from the beginning.

I’ve already mentioned that scale is matter.

Among the various aspects of scale,

one that I consider particularly important is

having at least 100 local creators at the start.

That way, you can grow the market quickly and expand rapidly,

ensuring powerful growth within the golden time frame,

allowing you to establish and growth the manga industry.

Starting with 100 titles is

roughly equivalent to about only four manga magazines in Japan.

While hearing that 100 titles are necessary may seem like a lot at first,

when you consider it as the equivalent of four manga magazines,

it suddenly feels much more manageable, right?

That's why having at least 100 creators is the minimum.

Back in 2001,

I was serialized in a manhwa webzine in Korea

that had 150 creators.

Which means there were on-going 150 titles.

They divided it into three sections,

with around 50 serialized works in each section.

If you plan like this,

you can grow rapidly during the golden time,

and the starting stage will be strong.

And as I just mentioned, by having different sections,

you can start your country’s manga industry with a variety of manga.

You need to embrace diversity from the very beginning.

While diversity might develop later as the market grow,

While it’s not an easy process.

It’s more challenging than you might think.

What happened in the Japanese manga industry was a miracle.

But if you start with various and abundant works,

you can create the miracle in your hands.

BOICHIbeTOON for YOU; PLZ SUBSCRIBE, LIKE AND SHARE!

So, what is necessary to start on such a large scale and grow quickly?

Is it essential to have many talented aspiring manga artists in your country?

Of course, they are important and necessary.

That’s a fact!

But surprisingly, it’s not absolutely essential.

Talented aspiring manga artists are not as crucial to the business as you might think.

So, what is important in the manga bussiness mind? The capital!

THE C-A-P-I-T-A-L!

I’m not referring to the money in your pocket.

I’m not referring to the money in your pocket.

No matter how much money you possess,

it’s not easy to spend it!

You probably won’t want to pay page rates to a hundred manga and webtoon artists.

Even if you have a lot of money, be honest with yourself...

Would you really spend it to give opportunities to 100 new artists?

I don’t think so.

This is why securing investment is necessary!

This is what IT business is all about!

The core of IT is securing capital.

While aspiring manga artists may not have had opportunities to debut,

either quantitatively or qualitatively,

it is a miracle that manga artists in your country have reached such a high level of skill.

It is indeed a miracle that aspiring manga artists exist around the world.

Therefore, asking 'Why can’t our country be like Japan?' or 'Why do our readers only consume Japanese manga?'

is the wrong question.

They’re already doing incredibly well.

They’re doing great.

They’ve been studying hard and holding onto their dream of becoming a mangaka even without a place to debut.

They’ve held onto their dream for a long time!

I want to praise aspiring manga artists around the world.

For them to further improve their skills,

someone should give them opportunities and invest in them.

The capital you secure through investment for business purposes is extremely important.

So, how do you attract investment from outside?

You need to present investors with a grand vision.

And what is a grand vision?

A vision for the potential of the manga industry's rise.

A vision for grand development.

A vision for nurturing creators and creating employment.

A vision for contributing to the cultural industry and enhancing soft power.

A vision for global expansion!

Whatever it may be, you need to conceive a compelling vision!

Use that vision to persuade investors or

the government

to support your manga artists and secure investment.

Then, use that capital to invest in aspiring manga artists and their works.

Give them opportunities,

and even if they fail, give them another chance to rise again.

This is precisely what happened in the Korean film industry in the 1990s.

And revenue sharing needs to be favorable.

Give creators a significant share of the money that readers pay.

In IT business, you can have an astonishing number of creators,

far beyond what you could ever imagine in publishing business.

You can produce a lot of IP contents.

The profit margin isn’t crucial from the start.

Surprisingly, in the content business, profit margins aren’t important.

Profit margins and outcomes will eventually come.

But they aren’t essential when you’re starting and growing.

Companies shouldn’t try to make hefty profits through revenue sharing right from the beginning!

In the content business,

what the company does isn’t that crucial, nor is it extensive.

This is especially true in the manga industry.

Maybe it’s more important in the film industry,

but not as much in manga.

In manga, the mangakas do almost everything individually.

That’s why it’s vital for mangakas to do well.

It’s crucial that mangakas find the drive for creativity.

It’s most important to inspire them to create amazing, successful works!

It’s also essential to attract a large number of quality talents into the industry.

And the key to this is

revenue sharing!

If many artists and authors are creating a large number of works,

the company’s profit margins will eventually rise.

The company’s profits will come when a big hit emerges.

“We should strive to create big hits, like the movie, AVATAR!“

Then they shouldn’t try to take a cut of the creators’ labor.

If they do, the number of creators, sellers, and works will all decrease, which benefits no one, not even the company

Moreover, let me tell you this.

Even though I haven’t gone into detail yet,

fair revenue sharing can have an immensely positive impact on the world.

It will give you enormous power on the global.

When you expand beyond your country’s manga world to the global stage,

revenue sharing will be a significant advantage for you.

Now, onto an important point...

If you don't secure enough investment

and have insufficient capital,

consider producing adult-rating manga...

TO BE CONTINUED...