Відео

Yeah, I'm planning on doing a video about it. In general, my guess is everyone is going to start using Lunar and a handful might go with Penguin. And we'll see a further split between "indies" and the "mainstream". However, I think things will temporarily run business as usual and the trends we've seen in comic sales will continue. Floppy comics will continue to become more niche in the broad market. Web comics and manga will rise in popularity throughout the west.

Oh yeah, for sure!

This video was posted when Vuulr was still in business. I don't know of any company that's come around since then to take it's place. It went under most likely because it's too easy to take business off the platform, everyone just used it like social media and then made their deals privately to avoid paying Vuulr's fee. Vuular was free aside from the fees they took from deals. I think competitors will have the same problem. It was good while it lasted.

Charisma can overrule everything lol

@ oooohhh my charisma bonus is a -10….😬

@ well….then you’ll have to partner with someone who can boost your credibility, or just lie to people lol

Thank you

For sure. Thanks for watching :)

Nice. Thank you!

Yeah comixology is certainly gone, at least for now. NFTs are definitely a wild technology.

Nice. I’ll have to check out that list.

Heck yeah, thanks Adriean!

I feel the same way when I rewatch the interviews. But I never notice when I’m in the moment. I’ll be more observant in the future.

Noted! I’ll start doing that, thank you!

Ha! Yeah exactly lol thank you

Max is great at putting out content that's not sugar coated and makes you realize you're not alone in this industry. We're all taking punches!

Thanks buddy!

Yeah definitely.

Yeah definitely!

No. I think Filmhub has pretty much taken over that space. However, film markets are now having online viewings, so you don’t have to go to the markets in person or pay a big of a fee, you can add your title to their online catalogue. Maybe I’ll make a video highlighting them. I know Cannes is now doing that, various platforms like Stage32 are having online “film summits”, and most big film markets worldwide, I know Film Bazaar for sure, maybe American Film Market too, have options to add your film to their “viewing room” catalogue for a period of time.

Thanks buddy

Yeah exactly. The amount of effort required to make a living in a creative field -- be it comics, novels, music, film, fine art, etc...it's almost impossible until you're too old to care anymore. It roughly takes 10+ years to get your skills to the professional level needed to be in the top % of creators that are paid a living wage for art... but in order to make a living as an amateur, or even an early pro, you have to take time away from your creative efforts to work a more secure and higher paying job, or take on extra artistic jobs, even if they don't help you improve...which stretches out your timeline. The only remedy is if you overwork yourself for years at a time... or go viral as a creator early on. And those who have success will tell you they took Path A...overworking themselves until they were financially independent. And unless they have a "hit" in their field, they struggle the whole way there.

Awesome!

Thank you. I would like to clarify though... Socko Press is not directly affiliated with any crypto or NFTs. What I'm referring to in the video is our non-exclusive creator contract, which allows for creators to publish digital comics on multiple platforms, which includes the option, not the obligation, to publish "digital collectibles" on platforms in Web3. Socko's primary focus is black and white manga-sized print comics. I was only clarifying in this video that digital collectibles are possible with NFTs, because Larry of Nyobi Comics claimed digital collectibles weren't possible. We get many submitters who like to have a lot of different options for selling their comics, so our website mentions that creators have the option to sell their comics in multiple digital formats (including digital collectibles) and platforms, if they choose to.

I'm glad UA-cam recommended this video to you! But I would like to clarify...Socko Press is not affiliated with Web3 or crypto. However, we are non-exclusive, meaning we allow for creators to publish on different platforms. In this video, I'm referring to Larry's misunderstood line in our creator agreement, which states that creators have the option to publish their comics digitally on multiple platforms, including "digital collectables" in Web3 comic reading apps, which function on NFT technology. Larry didn't believe in the concept of digital collectibles, which is why I felt the need to explain further. The whole point of our creator-focused contracts is to allow and encourage creators (especially creators who submit their comics in color) to publish their comics on multiple digital platforms and even other mediums (helping creators earn multiple revenue streams from one story), since Socko Press's primary focus will only be on the black-and-white manga-sized print version of their comic story.

thanks

Hell yeah, no point in being secret lol. Ironically, our non-predatory nature was supposed to be our core value and attraction to the creators and customers. But since that was immediately put in jeopardy, the only way I saw to counter act the claim of fraud was with full transparency.

Thank you for commenting and letting me know! As you'll see in the other comments, the NFT portion of the video has definitely been a highlight. But yeah, to clarify, we're not an NFT or Web3 company. But we are non-exclusive, so we do allow creators to publish digital collectibles. That's all I was originally stating on our website...but it was misunderstood by Larry. Lots of creators start their comic books in color, and since we're only publishing in black and white, creators will ask us if they can publish their books in color on WebToon or Global Comix, or even on Web3 platforms like dReaderapp, etc. And Socko Press's answer is not only YES, but also that we'll help you sell your books on multiple platforms and mediums.

Totally get the concerns with Web3, which is why it was only mentioned as an option, just an addition to digitals in the publishing details, not a primary focus. And thank you!

so true

Thank you! Yes, that's exactly the intention. I can do a lot better in selling the company, but I've been treating it as a soft launch. Really trying to get a read from people and experiment before committing to anything. The primary bottleneck of the indie comic industry is two things... A) average consumer demand is relatively low, forcing low print runs; these print runs are so low, that the cost to print is nearly equal the retail sale price of the mainstream products -- forcing the retail price of indies to be overpriced in the eyes of the consumer. They see it as an inferior product for a higher cost. B) The industry is oversaturated with a bunch of products that are very similar and there's a LOT of competition for a very small market in the grand scheme of comics. Thus, reducing the printing costs and differentiating the content was my attempt to make things affordable for both the creator to produce and the consumer to purchase. Spend less on paper and highlight the creative talent.

@@indiecomicempire facts hence why manga does so well. it is a disposable product and japan knows that so they print on cheaper paper bringing the cost of printing down which in turns bring the price for each book down.

​@@yo24ytManga also does well in the west because it is filtered by the time it gets here. Localizers don't license titles they don't think will sell to a western audience. On the other hand American comics are entirely unfiltered for Americans.

@@RarebitFiends exactly

A) you can definitely submit your book in full color. To stay uniform and keep costs lower, we're only going to print in black and white. But we'll sell digitals in color. B) As for the funding the artists...maybe in the future after we get our feet off the ground, steady revenue, and consistent titles under our belt. We need steady orders before we can invest much into production costs of individual titles. But eventually, that is what we'd like to do.

Yeah definitely. We’re non-exclusive and short term…so we will publish you even if you’re published somewhere else (if accepted). So not only will we take your project that’s already live online, if a bigger publisher comes along wanting to publish your series after you do a print run with us, they can.

Ha! Thank you! Yes, we are going to stand out with the manga formatting, and definitely going to carve the way for new talent!

So long as you can read and write English, publishers, including me, don’t care where you are from as a creator. Just complete and submit your work in English. This is the same if I want to submit my work in Japan. So long as the work is in Japanese and fits their guidelines, they don’t care where I’m actually from. So if you don’t speak English, just like I don’t speak Japanese, partner with a creator who does, or hire a translator who can help you.

@@indiecomicempire thanks for this reply

I did hesitate about submission fees, and reached out to other creators for their thoughts. Ultimately it was agreed that it didn't make sense to have free submissions. The amount of unsolicited submissions I get for Hoven Crow Entertainment is absurd. The content is there and people have been asking me to review and publish them for years. I need a fee to weed out those who are unserious and with incomplete products. Not to mention, I only charge $45 and the average fee for writing competitions is $80+, and those competitions don't offer anything in return other than bragging rights and a PDF "winner" certificate. Whereas I'll be holding physical awards ceremonies and offering publishing contracts for winners.

I feel you, and I had the same reaction at first, but if you think about it, 45 bucks isn't *that* huge of an investment if you're really serious about your project. If you're picked they'll cover printing and marketing costs, while with other publishers you usually have to cover these costs by yourself.

@@nrgentertainmentartist8668 well said and our contracts are non-exclusive, which means if a bigger publisher comes along or if you want to go on your own you can go ahead. a normal publisher will have you sign an exclusive 5+ years contract.

@@nrgentertainmentartist8668 exactly!

so does this mean that reviews come with critiques and reasons why something has failed and what could be improved?

Thank you!

Interesting route to take. Seems like a smart path though, each step grows into the next. Thank you!

Lol.

Yeah, I think I've gotten evaluations from Blacklist in the past. They're super strict on what they give high remarks to, because it's seen as giving the greenlight to a project, so it has to be Top 1% material. Another similar company is SLATED.

@@indiecomicempire Found the site. And I jointed INKTIP - but unwilling to pay for DT, which I uploaded, prefer to wait till I complete another script then decide. Man BL had almost glowing things to say - the only negative wanted more characterization (I interpret as more drama, even they however pointed dynamic between female leads and liked). DT is action-horror and simple so had to focus somewhere. The other issues some present tense etc. I wrote a mystery I don't feel compelled to let it in part 1. *** from site - Strengths The vivid imagery and visceral experience found in films like SAW are infused, in this script, into a scenario every bit as inventive and unexpected as THE HUNGER GAMES. In the group of strangers brought together by a hellish series of trials, the script crafts a set of voices that are both unique and distinctive. The visual imagery leaps off the page, from the frigid air that blows strongly through the door that allows the group out, early on, to the eerie ghost town into which they emerge; an unsettling directive to “enter any structure;” and a series of horrifying torture instruments in Pickman’s Gallery - a person impaled through the anus with a pole, another person drowned with cement shoes, someone strapped to a Judas chair, the Pear of Anguish, an Iron Maiden - that prove indelibly memorable. A certain tenderness between Theodoriss and Nervana brings a sense of the human impact, while the horrifying and unexpected series of monsters and challenges keep both the group and the audience guessing all the way to the gripping final scenes. Furnishing twists and surprises along the way, this journey brings a harrowing and engaging cinematic experience that charges its narrative with an electric sense of propulsive momentum. Weaknesses The visual work throughout this script is as vividly memorable as its broader conceptual underpinnings. It might be interesting to consider whether there could be opportunities to delve even deeper into one or another of the central character perspectives, in order to bring that much more personality and emotionality to the story. As they begin to piece together who they were before they were brought here, if there are even more connections between the members of the ensemble, even more for them to discover and figure out about each other, and more of a sense of the reasons why they have been brought to embark on the trials, themselves, there might be that much more of an impact to each of their journeys. The various monsters and puzzles that they face are undeniably colorful and inventive, and if, at the same time, there is even more of a sense of cohesion, escalation, cause-and-effect, and startling new information for them to actively dig up about their circumstances and the meanings attached to them, there might be ways of infusing the story with an even sharper and more intentional arc. At a more editorial level, ensuring consistency in maintaining the present tense in the descriptive lines might yield an even smoother read. Prospects This script sets itself apart with vivid imagery and a similarly unsettling and engaging atmosphere. It creates a pressure-cooker scenario, and infuses it with consistent action and visceral scares to maintain its high-octane momentum. The diverse ensemble that comprises its cast harbors the potential to offer opportunities for some standout performances, while the locale becomes in many ways another character in and of itself. While potentially considering ways to delve even deeper into each of the central character perspectives, and also finding ways of attaining that much more clarity and depth in the plot, might only broaden the appeal of the story, a film like this one could find fans either theatrically or on a variety of streaming platforms.

I’ll start scheduling them at 7am CST for the early birds like you lol

Thank you!

What genre is your film?

@@indiecomicempire art house / sci-fi / dark comedy

@@indiecomicempire Art House / Sci-Fi / Dark Comedy Any advice please? I just don’t have an audience and don’t know how to build one. Have started all the social media accounts and am making promotional content, but can’t seem to get over 200 solid followers. If I made a Kickstarter or IndieGoGo right now, I would be basically just be asking for money from my close friends and family, which I have already done. I have a feature length film that I spent 4 years on, but have no idea how to get it seen and marketed other than the film festival route.

@@constantsmile3370 I don't know how to go broad and then narrow without paying for ads. All I know how to do is capture a niche, then expand outward. So what I do is follow the audience for a similar film, like Under the Skin, and just try to capture them one by one, group by group, and then use those people to hype your film to their friends. So, I'd find any Facebook groups that are dedicated to that. For example the Under the Skin Cinema Club has 70 people. Join that group. Talk to everyone in the group about under the skin. Earn their trust. Figure out where they go to find new movies. Do they go to specific theaters. Do they go to horror conventions. Etc. Reach out to art house theaters. Other than that, you'll have to make a killer trailer, splice up clips of the film, create a daily, weekly, monthly, quarterly plan of content and post on tik tok and UA-cam and target ads to people who are into movies you make.

@@indiecomicempire Also, isn't it weird that spamming is forbidden on most social media, but on Twitter it is basically the business model.

Heck yeah, perfect! I just started a small press publisher. When you finish it, go ahead and submit! Www.sockopress.com