Based, presumably, on the fact I referred to DJ Coffman in this post about why self-publishing isn’t a panacea, and the still wildly popular trio of posts about the TokyoPop pilot (the inciting incident, ensuing brough-ha, and third thing where Zuda gets dragged into the morass) people are seeming to take DJ’s post from yesterday that all is not well in his ongoing efforts to regain his “Hero by Night” rights as some kind of absolute sign from the heavens that I must renounce everything I wrote therein.
So here’s why I’m not going to do that. Read more
Last TokyoPop post for a little while… I promise.
Brigid Alverson posted an interesting question over at her MangaBlog wondering about the compare and contrast between the TokyoPop and Zudacomics contracts.
It’s way to late to do a point by point breakdown – but I did do a scan of the standard Zudacomics rights agreement, and for my money the TokyoPop one is far preferable.
Further to my last post about the TokyoPop pilot program, I’ve swapped a couple of interesting e-mails with “industry insiders” (who I have not asked for permission to quote, so I shan’t name).
It seems like alot of the ire coming up in this specific case can be traced back to the fact that some folks feel TokyoPop has a very bad track record for exploiting new talent.
Bryan Lee O’Malley has recently posted a number of objections regarding TokyoPop’s default contract for their new Manga Pilot Program.
Firstly the obligatory disclosure that I have a gigantic man-crush on Bryan. Anyone who has ever worked at The Beguiling is automatically cooler than me, but come on – “Lost at Sea”, “Hopeless Savages”, “Scott Pilgrim”!? I have lost this battle already. So I actually was going to limit my comment on this issue to an e-mail to him directly.
But since a lot of other people have started commenting on his original post, especially creators I have huge respect for
[Edit – I owe Lea an apology as this whole kerfuffle started with her post, I mis-read the timing of the posts .. worse – I mis-spelled her name (which she was too polite to point out). How bush league is that?]
(Lea Hernandez, Kris Straub, I’m looking at you) I felt it was important to get some kind of contrarian opinion out there for anyone who might be Googling.
So please take what I have to say from a place of deep respect for some of my favourite creators out there: There are bad screwjob contracts out there. TokyoPop may have a record of bad Original Property Agreements
(of which I can’t comment, having never seen one, or heard anything about one, ever) [Edit – No, their record is pretty bad. See my amended take at the bottom]. However as someone with no particular tie to TokyoPop whatsoever (other than devoting a copious amount of my bookshelf to Shojo titles which-shall-not-be-named) this particular agreement is not one of them.